Messages

91

Stage Management: Plays & Musicals / Re: Ideas for knife throwing board needed -- Annie Get Your Gun - Opan mid April 08

« on: Feb 08, 2008, 02:26 am »

We had a curved teepee of lexan or something like that.  There were five spring-loaded knives that could be released from the backside.  Unfortunately, I'm not a carpenter, so I can't really do a great job describing how it was built.  The "knives" were wood and sat in a track behind the teepee.  I can't remember what created the tension on the knife, which made it's natural postion to be sticking out of the front of the flat.  The knives were preset by pulling the back into their tracks, and placing a pin in the track to lock it in place.  A stagehand released them on the music cues for the knife throwing.  Tommy just faked the throw and misdirection made it look real enough for a musical. 

92

Stage Management: Plays & Musicals / Re: Director and Actor don't get along

« on: Jan 20, 2008, 05:43 pm »

I'm wondering what "just cause" is?  Are we talking Equity actors here?  Normally we just use progressive discipline in writing, in line with whatever the contract requires.  I've never been in the position of firing an AEA actor though.  This is a very tough situation to handle and I will be curious to hear what others suggest.

93

Stage Management: Plays & Musicals / Re: Cabaret Prairie Oysters - thoughts and ideas?

« on: Jan 20, 2008, 01:32 am »

We used ceramic mugs for the cups and she broke real eggs into the cups.  The actors just mimed drinking them.

Later when the director wanted Sally to really chug her cup (throw it all the way back) she ended up breaking both eggs into Cliff's cup through some pretty easy slight of hand mug movements.  Then she just threw back her empty mug to drink.  Cliff was only sipping at it half-heartedly, so his mug with real eggs was no issue.

94

Stage Management: Plays & Musicals / Re: Actors' agents and managers

« on: Jan 06, 2008, 01:34 am »

The only time I've had to work with an agent/manager is when the producer failed to provide me a copy of the artists' rider.  Sometimes it is quicker to call the manager to get a copy, than to try and get it from the producer.

95

Stage Management: Plays & Musicals / Re: gas mileage reimbursment

« on: Jan 04, 2008, 02:01 pm »

Everyone has already contributed the information that I was going to share.  If you have a day job (primary source of income) and stage manage on the side, then all your stage management commuting is tax deductable, but you have to keep that log book that BalletPSM mentioned.  And it has to be handwritten.  You can't just log it in a spreadsheet when you get to rehearsal.  Learned that the hard way.  And it's better if you log your non-work related driving too, so that your overall mileage adds up if you're audited.  Honestly, it's a big PITA but if you have a lot of mileage, it's worth it.

96

Stage Management: Other / Re: The annual nutcracker 7th inning stretch....

« on: Dec 22, 2007, 01:48 pm »

I have the last of my Nutcrackers today.  It's my 14th year calling it for the same company.  It was a pretty uneventful run this year, which is just fine with me!

97

Students and Novice Stage Managers / Re: Who makes the better SM? Men or women?

« on: Dec 10, 2007, 11:57 pm »

Have you encountered sexist or gendered behavior in the workplace?Yes, primarily when working with an IATSE crew.  I found that women had to prove themselves as equals in lifting heavy things, unloading trucks, coiling cable, etc.  As a SM, I have not encountered that problem.

What characteristics are most important to a successful SM? Are these primarily female or male characteristics? Why or why not?  Most important characteristics: being organized, having tact and empathy, the ability to think on your feet, and, having an air of authority.  I think the first two tend to be female characteristics, the third is equal in both genders and the last is more a male characteristic.  But exceptions always exist on both sides.

What are the most common failings of SMs?  Failure to listen to others, and acting as a petty dictator.  Failure to acknowledge their own errors.  Failure to ask for help when needed legitimately.

What are your thoughts on the idea of a SM as a Mother figure? Any pertinent stories?  I've seen it, but I've never been one of those 'types'.  I can think of one difficult situation where I sought counsel from some more experienced stage managers:  a show included a stunt - a backflip performed by an actor as part of dance choreography.  He wanted to do it.  The director and the choreographer wanted him to do it.  But he couldn't perform the trick consistently, and I was in fear he would break his neck on stage.  We had spotter, extra mats, etc, but as opening approached, it became clear that none of the other players would step to the plate in acknowledging the situation (ie. the director and choreographer wouldn't cut the bit, the actor wouldn't say he couldn't do it but all said they'd do what I thought was best).  I was concerned that I was being the overconcerned "mom" type if I pulled my authority and cut the bit.  After talking to the other SMs, I cut the bit, and I was glad I did. 

Do you feel that there are less SM opportunities for one gender? Is there any instance where one gender makes a better SM? Why or why not?  No, I think the field is open to either gender equally.  I don't think that gener really contributes to what makes a better SM.

If you are a female SM, do you feel you have to work harder for the same respect/pay/jobs as your male counterparts? Why or why not?  No.  I have never had a problem getting respect, pay or jobs as stage manager.  They always have come to me, so I guess I am lucky in that respect.  I have never felt that my gender helped or hurt me in this field.

Do people of a specific sexuality or gender identity make better SMs? Why or why not?  No difference, IMO.  Personality matters more.

Kirsten M., stage manager for 18 years, non-AEA but routinely SM for AEA GA contracts

98

Students and Novice Stage Managers / Re: Yale Incident

« on: Nov 21, 2007, 11:45 pm »

It is a tragedy.

99

Stage Management: Plays & Musicals / Re: Onstage Hangings

« on: Nov 21, 2007, 11:44 pm »

I'm surprised this thread hasn't been closed already.  Usually the answer is "consult a professional" and no room for further input.  I'm glad to see it is still open.

My two cents:  A friend of mine was involved with a show in college with a noose hanging effect.  The actor was standing on a narrow flown platform and the noose was hung from the same batton as the platform.  In dress rehearsal the actors cape somehow got caught on a line upstage of his line.  In the process of freeing himself from his cape (which was starting to strangle him as the upstage line flew out) he slipped off the platform, and was caught by his own noose, which broke away (using the stitch method described by Mac above) and then he fell approximately 4 feet to the ground.  The greatest injuries were actually caused by the strangulation from the cape.  But the lesson I walked away with is that you don't mess around with nooses.  If that hadn't been a breakaway noose, the actor could have been seriously injured or killed - hung by a stage noose.

100

Students and Novice Stage Managers / Re: Beginner Stage Manager experiences

« on: Nov 19, 2007, 12:40 am »

My first show outside of school, the fire alarm went off in the building during the second act.  Full audience and cast evacuation, the works.  I was in a panic inside and calm outside.  It went fine (thanks to excellent ushers who knew exactly what to do, and a cast and crew and orchestra that followed directions) and we got the audience re-loaded and the show restarted within 15 minutes.

I just remember the look my light board op gave me when it first went off.  That "what do we do?" look...

101

Stage Management: Other / Re: Running lights from front of house?

« on: Nov 09, 2007, 05:09 pm »

I don't know about typical, but I've done it in small black box theaters, and for certain shows in our venue.  (We don't have a SM console offstage and out booth is soundproof - a problem when calling an unamplified ballet!)  So it's not unheard of.

102

Stage Management: Plays & Musicals / Re: Being "Written Up"

« on: Oct 16, 2007, 01:50 am »

Just to give a community theater voice to this thread, I have also written up actors.  In my case, I usually do it via email, but I have done it with a letter when the actor didn't have email.  The director and producers were always notified in advance of the write-up and copied on it.  I make the reason for the warning clear, and also the next steps and consequences.  In my case, I'm warning actors who are virtually volunteers, and it feels mightly strange to be threatening to fire someone who is working for nearly nothing.  However, there are good reasons to do so, and when the behaviour affects other cast members or the show, it has to happen.

Documentation is critical, almost more so at the stipend-only/community theater level.  With actors under Equity contract, the expectations are clear.  In the community theater context, there can be a lot of benefit gained from clarifying expectations when the participants might be less clear on what constitutes acceptable behaviour.

103

Stage Management: Plays & Musicals / Re: Jesus Christ Superstar

« on: Oct 16, 2007, 01:41 am »

I'm sure the wisers SMs here will correct me, but here are my definitions:
Score = full orchestra score
Vocal Book = vocal selections for each song with just the music for the singer
Libretto = text of the music

When I did JCS, I had all three.  I used the libretto for my notes and cues ultimately, although I started out using the score.  Even when I'm doing musical theater that includes a book, I don't usually get a prop list with the book.    As for JCS, it's a show that can be done so many ways!  The key is to have plenty of communication with the director and designers to know what they have in mind, because you could need anything from er... 35 machine guns, to nothing but a wood bowl and  a couple of rags or really anything!  My production had a prop known as the "fist of love" (don't ask).  Talk to the artistic staff and see how they plan to cast and stage the show.  You need a Jesus, a Judas, a Mary, the disciples, and probably a "maid by the fire" and "soul sisters."  But there are tons of way to do the show and you risk doing a lot of planning for nothing if you don't talk to the staff first and see how they plan to interpret this show. 

104

Stage Management: Plays & Musicals / Re: Jesus Christ Superstar

« on: Oct 12, 2007, 04:07 pm »

I've done JCS before, and I used the vocal book as my script.  I had access to the score as well, but I found it cleaner to take notes and call from the vocal book.  Like the poster above, I'm not sure if that's what you meant! 

105

The Hardline / Re: AEA Actors coming when not called

« on: Sep 10, 2007, 07:22 pm »

Thanks for the input.  The business end doesn't care, nor do the directors generally, except for wanting to maintain good relations with the AEA office.  They want no misunderstanding that the actor is there on his own, was not asked to attend, and no expectation of attendance was implied.  I don't want gossip that the company "makes" the GAs come in pre-contract, because we don't.  But I don't kick them out if they show up.  (But they are NEVER on the schedule, so never asked to rehearse.)

It's usually just an "introduce yourself" type thing and the actor leaves when we start rehearsing, or just watches awhile.