Messages

916

Students and Novice Stage Managers / Re: Trouble ASM

« on: May 04, 2007, 04:42 pm »

Was it ever an option to let this person go?

Sometimes that is the best option of all.

Agreed!  I think from reading though this was an academic project.  Tough to fire someone from school 

917

Employment / Schools for Electricians / Light Techs

« on: May 03, 2007, 11:41 am »

Hi all,

Reaching out to the SM Network with a question!  I'm in continuous need of qualified light technicians to work onboard ships.  Given the nature of ship life we find that the typical crewmember is 21-26 or 27 years old and relatively unattached.  Our technicians must:

• Program Hog II, Hog III, Hog iPC on the fly
• Maintain an inventory of spare parts for Martin intelligent lighting fixtures
• Repair and maintain Martin intelligent lighting fixtures
• Have some familiarity with show control programs and concepts
• Have a good design eye for vegas style and rock style production

Is anyone aware of any Universities or Trade Schools (anywhere in the world) that pump out these types of techs with practical real world experience on a regular basis?  Feedback from folks who have been out in the real world working for several years would be appreciated!  Thanks guys!!

918

SMNetwork Archives / Re: I'm New

« on: May 01, 2007, 08:40 am »

I had an interview with C-West not too long ago and discussed the possibility of SMing for Royal or Disney after Aug 1st. I thought it would be a good idea to try once and see how I like it. I think I have a good chance of an offer.

Kevin - do you think SMing for a cruise line is something you can do for 6 months, then break for a month, then work 6 months again, etc?

I'm not exactly sure what all the lines' contract lengths are, however I know that with ours you are onboard for 4 months, followed by a two month paid vacation.  We don't vary that by more than a week or two usually.

919

Stage Management: Plays & Musicals / Re: Who Runs the Tech?

« on: Apr 29, 2007, 12:03 pm »

Sam,

The tech rehearsal is yours.  It's the stage manager's responsibility to tie together all elements of the production, and tech rehearsal is your time to do that.

As for how I run my techs, that depends largely on the show.  If there are a lot of light cues or deck cues etc... I will do a cue-to-cue before any actors are in the space.  If there are a lot of complicated sequences that involve lighting, flys, scenery movement, or a couple of different elements I will actually do a dry-tech.  I will video run in the later stages of rehearsal and then sit down in a room with all the necessary people, basically the designers, TD and my ASMs and work through any potential trouble spots before we're "on the hot seat" during tech.

If it's a play that has just a few cues here and there and nothing terribly complicated I will literally just run as a dress rehearsal (as I've found usually it's more valuable to get an uninterrupted run in), if we hit any train wrecks we'll stop, if not just hash over notes at the end and go back and hit trouble spots.

920

Students and Novice Stage Managers / Re: First Tech Rehearsal

« on: Apr 29, 2007, 02:23 am »

Just stay calm and focused under pressure.  Your cast will be looking to you for support and believe it or not, your mood can completely change the attitude of the cast and crew.  Just relax, stay organized, and make sure that everyone is on task and doing their job.

I couldn't agree more with KC.  If your cast and/or production team see you running around like a chicken with your head cut off then it's easy for everyone to jump to panic mode.  Take control of the tech process, but try to avoid acting like a tyrant when doing so.  All of your words, actions, etc.. should be deliberate.  If people are panicking, slow the process down.  If people are lounging around and wasting time, pick it up.

If you're lucky enough to have the ability to quickly assess what makes people tick you'll have even more success.  Some folks need a task-master on top of them to drive them, and will react very positively when someone does that.  Others will panic and implode on themselves if someone is riding their back relentlessly.  The ability to adapt your management style on the fly at the drop of a hat is crucial. 

921

SMNetwork Archives / Re: I'm New

« on: Apr 29, 2007, 02:13 am »

Hi Stage -

Of course there are things I miss about working onboard.  There are also things I don't miss, just like any job.  The camaraderie, the people, the atmosphere is something you won't find anywhere on land.  However simple things we take for granted every day you don't always get on ships.  You can't just jump in your car and drive to hang out with your friends; if you feel like having a pizza delivered you can't get it, etc...

In terms of the actual job I'd compare it to being a production manager at a road house.  You've got a couple rep production shows you run every cruise, the other shows are guest entertainers that will come onboard that day, rehearsal that afternoon, then 2 shows that night, then jump off and fly home the next day.  You've got your gear that you need to keep up and running at (close to) 100%.  It requires a lot of forecasting and planning for down the road.  You need to have a very large spare parts inventory and a rigorous preventative maintenance schedule.  If you blow an amp, if a stage lift fails, or if your rigging computer crashes you need to be able to fix it onboard with the parts and the people you've got.  But if you have your stage staff blowing out the amps and lighting instruments with compressed air every other week you're a lot less likely to blow an amp because it's overheated, etc...  You can't just take your amp down the street to have it fixed.  It's very fast-paced and everything is accelerated. 

If you feel you must be part of the creative process and build a show from scratch then ship life is not for you.  There is a bit of that, but you're not with the show from conception to closing.  You sign on for your contract, keep things going, then sign off, and things will keep going long after you leave.

Personally I think it's great fun, a great way to see the world and put some money in the bank.  In my opinion it's all the best things about touring with none of the downsides, because your entire theatre, cabin, and staff tours with you.

922

Students and Novice Stage Managers / Re: How do I audition for SM at a college?

« on: Apr 26, 2007, 12:36 am »

I couldn't agree with scoot more. 

You can teach a monkey to call cues or crank out paperwork.

Good people skills and the ability to effectively communicate are the two most important tools a stage manager must have.

923

SMNetwork Archives / Re: totally wireless cans...

« on: Apr 24, 2007, 10:35 pm »

Clearcom has an amazing system called cell-com.  It is absolutely the best in wireless, though you're looking at about $15,000 base install cost before you even add much extra in.

http://www.clearcom.com/Products/wireless/wireless_index.html

Way out of any of our price ranges, but it's still friggin sweet 

924

Stage Management: Other / Re: School productions.

« on: Apr 18, 2007, 10:39 pm »

I kind of like the WAVE when someone crosses really quickly.   

925

Tools of the Trade / Re: Clock/Timer recommendation

« on: Apr 18, 2007, 06:10 pm »

I believe this is it:

http://www.download.com/MultiTrack-Stopwatch/3000-2350_4-10146154.html

926

Tools of the Trade / Re: Clock/Timer recommendation

« on: Apr 16, 2007, 08:43 am »

I use a software program called multi-track stopwatch.  It's a simple computer program that has 10 different stopwatches.  You can set each one individually and time independently.  What I do is set one to count down from half hour, one to count down at intermission(s), and then one to count up for each act, one for show time, one for run time.  It may seem excessive but it's time to do the report at night you just read right off your screen.  Best of all it's free!

927

Stage Management: Plays & Musicals / Re: How to Spike Stage for Focus?

« on: Apr 15, 2007, 11:59 am »

I agree with ljh below.  Seems like a lot of unnecessary work.  Is there a reason the LD can't just divide their plot into a grid system and hit a few chalk-lines on the deck?  Chances are they should already have focus areas on their plot (unless they're just throwing a bunch of lights in the air with no real purpose ), and this saves everyone a lot of work.  I've never spiked a stage for focus.

928

Stage Management: Plays & Musicals / Re: Weapons on Stage - Saftey and Legality

« on: Apr 11, 2007, 05:56 pm »

A few years ago friend of mine had a similar situation in a show she was SMing, except it was a shotgun.  The shotgun was not a stage gun, it was an actual shotgun.

A little off-topic, but why on earth couldn't they have just used a stage gun?

3/4 round space that was pretty intimate combined with the fact that it was a period piece and the director had an exact gun he wanted.  At least I believe this was the case, I didn't work on the show myself.

929

Stage Management: Plays & Musicals / Re: Weapons on Stage - Saftey and Legality

« on: Apr 10, 2007, 08:48 pm »

Weapons are always tricky, especially when they are real weapons.  If I was in your shoes, for safety concerns I'd pass the buck on approval of this up to the artistic director or equivalent.  If they okay it, find a good certified fight choreographer.  They'll be able to work with the actor to control their body and the weapon appropriately.

As for the legality issue - since it is a real weapon I'd contact the local police and get the go-ahead from them.  A few years ago friend of mine had a similar situation in a show she was SMing, except it was a shotgun.  The shotgun was not a stage gun, it was an actual shotgun.  The local police (University Police) insisted they keep the gun locked at police HQ at all times, since the theatre was on University property and no weapons were permitted.  Every night one of the ASMs went to the police station to get an officer, the officer brought the gun and blanks to the theatre and stayed there until the gun was used.  After the gun was used the officer took the gun back to the station.  Quite a bit of riggamarole (spelling?) but something that was necessary given the circumstances.

930

Tools of the Trade / Re: Do you prefer Word or Excel?

« on: Apr 10, 2007, 12:56 am »

Excel hands down for me.  Only document I'll have in word is the script and possibly the weekly rehearsal schedule.