Messages

1

The Green Room / Re: ARTICLE: Producing "Sensory-Friendly" Performances

« on: Oct 01, 2016, 06:32 pm »

I've done several of these performances, and they are always a wonderful experience. I have a sibling on the spectrum, but the biggest thing is to help the performers understand how the audience may react differently (vocal reactions, people getting up and moving, some people using iPads to communicate, etc), so that they aren't thrown off their game.

Sensory friendly performances, and the supportive and understanding environment they create, are some of the few opportunities for entire families to go out and enjoy an activity together without having to worry about apologizing for who they are.

2

The Hardline / Re: Actor/ASMs on a TYA contract

« on: Oct 21, 2015, 11:54 pm »

I struggled with this as well this summer. I primarily used my actor/asm to help set up and take down each rehearsal. She was also super helpful and jumped up to help reset if we were running a moment again. This was especially great when running a certain number with a lot of prop choreography.

However, I didn't feel right asking her to come in early and help set up on days where the calls were staggered and her character wouldn't be needed at the top of day. I also made sure to respect her break times, so she wouldn't go without a break trying to pull double duty.

Once we got into the theater I didn't really use her at all - according to the TYA agreement, all ASM duties must be complete by half hour, so anything additional (set moves, etc) would fall under the same additional compensation as a regular actor. I had an intern and a wardrobe crew member backstage, so I didn't feel like I needed the actor/ASM to help out prior to half hour.

I'm sure that an Actor/ASM is invaluable in a touring situation, but it's a little less obvious how to make good use of them in a resident theater.

3

The Green Room / Re: Smart Watch use in rehearsal

« on: Sep 03, 2015, 06:52 am »

My current PSM has an apple watch and has absolutely loved using it in rehearsals for all of the reasons above.

Although just beware - he also accidentally left his iphone in his roadbox/office when we were loading out of the rehearsal hall because he was using his watch and lost track of it. Luckily we figured it out before the truck pulled away!

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Tools of the Trade / Re: Books Books Books

« on: Oct 12, 2014, 12:29 am »

Aside from some of the technical books, my former Stage Management teacher passed along her list of books for the current students in her Advanced Stage Management class. Here are her choices:

How to Win Friends and Influence People by Dale Carnegie
The Five Dysfunctions of a Team by Patrick Lencioni
Fish!: A Remarkable Way to Boost Morale and Improve Results by Stephen Lundin and others
One Minute Manager by Kenneth Blanchard

She also has her Production Management Students read:

Production Management: Making Shows Happen by Peter Dean
The Power of a Positive No by William Ury
Crucial Conversations by Kerry Patterson


Personally, I used to teach workshops on the FISH philosophy at my old non-theater job - it has helped me in every job I've held, and has had a huge influence on my management style.

5

Students and Novice Stage Managers / Re: Special Skills on a Resume

« on: Apr 13, 2012, 12:06 am »

Some things that you also might think of including are if you're CPR/First Aid Certified, if you have experience working with children or animals, or if you speak any languages other than English.

I wouldn't make your special skills list too long, but as you're looking at specific job opportunities, you might find that you have skills that are an asset to that specific production. (For example, because of my other job, I am a certified archery instructor. I do not include this on my resume often, but if I know that a show features some archery weapons, you bet I put it on there.)

6

Stage Management: Plays & Musicals / RUNNING: Efficient Fight Call

« on: Jul 23, 2011, 09:15 pm »

I'm currently stage managing "Romeo and Juliet: Choose Your Own Ending" which will be in FringeNYC this August. One thing I am a little concerned about as we go through the rehearsal process is our fight call before each performance. We're allowed 15 minutes in the space, and then there is a 15 minute house. Our set is minimal and only takes about 5 minutes (if that) to set up, but the challenging aspect about our show is that depending on what the audience votes for throughout the performance, there are 8 different "tracks" that the story can take. So while there is not an extreme amount of combat in a particular performance, this results in 8 different sword fight possibilities (with different actors involved and varying choreography) in addition to several punches, stabs, slaps, and falls.

Because this is a safety concern, at the beginning of the process we asked if we could have a shorter house or be given more time, but unfortunately FringeNYC couldn't grant that request. As of now the plan is to come up with an efficient fight call list, and to have the actors get into costume before we get to the theater, to allow as much time on stage as possible. 

Does anyone have any additional advice or suggestions to help make this as efficient and safe as possible? Thanks!

Edit to subject line-Rebbe

7

Tools of the Trade / Re: Laptop help

« on: May 12, 2011, 08:13 am »

You might also want to look and see if your college has any computer deals. At the UMD you could buy a laptop (either mac or pc) through the school at a discounted price. The benefit of this is if for some reason you laptop gives you trouble, you can take it in to be repaired right on campus, and they'll often give you a 'loaner' laptop to use in the meantime.

8

Tools of the Trade / Re: Information access barriers

« on: Mar 08, 2011, 01:18 pm »

The University of Maryland started using a wiki last year--it's definitely been a growing and evolving process (creating a practical, universal rehearsal report form that can work for dance, theatre, opera, and outside events is no easy task), but people have gotten used to it and it works pretty well. One of the benefits is that you just log in using their regular university log in name and password, and access can still be granted to outside directors or designers.It is also pretty convenient to find all rehearsal reports, performance reports, prop lists, fitting requests, etc in the same place.

9

SMNetwork Archives / Re: I could have kissed them!

« on: Apr 30, 2009, 11:14 pm »

As an ASM, I had to collect and return valuables every night. Because it's a university setting, people really didn't bother to put anything in them, and I collected and returned empty envelopes for about two weeks. Then for one performance, every guy in the cast put everything that would fit into  their valuables envelopes-it got so heavy that I needed help to carry it out of the dressing room! And when I came back at the end of the night to return them, they all applauded. It was nice to know that even if they didn't take adventage of one of my jobs, they appreciated that I did it every night.

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Students and Novice Stage Managers / Re: Student Stage Manager's Challenge #3: SMs Everywhere

« on: Apr 13, 2008, 10:57 am »

Another one outside the theatre world...

I worked at my old barn as a show manager. During horse shows, I would have to coordinate the people/horses for each round of competition, cue them to enter the ring, cue the ribbon girls when the winners were announced, shovel horse poop, and help my jump crew reset the jumps for each round.

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Students and Novice Stage Managers / Re: SM's problem with techies...

« on: Mar 17, 2008, 11:58 pm »

The best thing for you to do is to earn their respect by doing your job well, and being firm without flaunting the fact that you got this opportunity so early in high school. By treating them fairly and proving to them that you indeed deserved this position, you should be able to work well together. In my experience, if you show that you have the skills, grade becomes meaningless.

However, don't let them push you around. You are in charge, and if they don't do their job, it's your responsibility to remedy the situation.

Good luck!

12

Tools of the Trade / Re: Spike corners

« on: Feb 22, 2008, 12:38 pm »

I've never heard of that before, do you need permission to use paint pens on the stage floor?

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Tools of the Trade / Re: i discovered the best SM/backstage shoes ever

« on: Feb 03, 2008, 04:04 am »

I am currently in marching band at school, and while this seems to be quite an interesting and practical idea, I don't know how eager I am to wear mine outside of band. Plus, we've just switched to Drill Masters, which is not as comfortable.

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Students and Novice Stage Managers / A helpful resource for those getting started

« on: Jan 15, 2008, 12:49 am »

My director in high school gave me this link when I first showed interest in stage management. It's a great guide for people who haven't stage managed before, and while I don't do everything like it says (of course, we all do what works best for us) it really helped me to understand exactly what a stage manager was, and how to get started. Enjoy!

http://www.mts.net/~skirzyk/SMscoffee.htm

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Stage Management: Plays & Musicals / Re: What should I give my crew?

« on: Jan 13, 2008, 08:25 pm »

I would recommend that You include a dress code, and explain what your definition of "blacks" is. In the dress code, make sure to include footwear. Flip flops were my biggest problem when I was in high school, and are dangerous when moving pieces of set or working with power-tools.

Would you like them to wear dress blacks? Is black clothing with logo's acceptable? Explain exactly what you want, and ask them to wear their blacks during a rehearsal so that you know that they understand what they need to be wearing.