Messages

1

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

« on: Feb 06, 2008, 09:58 pm »

The comic strip "Funky Winkerbean" has a fanatic marching band director as a character. His name is Harry Dinkle. They named the shoes after the character.

2

Stage Management: Other / Re: Wrangling the Childrens Chorus

« on: Dec 01, 2007, 02:41 pm »

Just offering the knitting as an example. What works really depends on cast chemistry. I worked with a chorus of kids who were VERY intrigued with knitting. Nothing kept that group of 20+ girls quieter. The ones who knew how taught the others. I wouldn't doubt that some boys could get interested, too. We just didn't have any in that show.

 And even a pencil is (hopefully) a sharp object.

3

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

« on: Nov 23, 2007, 06:19 pm »

I've run lights/sound for kids' shows from the house. Kids right in front of you twist around in their chairs and ask you all sorts of questions. You tell them all about being an SM/board op, and they tell you all about being a first grader. Great learning experience, when all they usually ever see are the actors.

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Stage Management: Other / Re: Wrangling the Childrens Chorus

« on: Nov 23, 2007, 06:11 pm »

Definitely ask them to bring something QUIET to do...homework, quiet games, knitting, coloring books, and so on. If they will not be required to be onstage for extended periods, have a rehearsal hall or other seperate room where they can blow off steam and be a little louder.

Give them a talk outlining your expectations for them...to be quiet, to listen to you and other pertinent adults, to walk, not run, in the theater, to stay in their seats, and so on.

Bring your patience. And sense of humor. Talk to them. If they have a conversation with you about school, music, whatever, you become more of a person to them rather than just "that adult we have to listen to."

I have used parent volunteers with great success. We make it mandatory for each child's parent, guardian, or even older brother/sister (over 18 and pre-approved) to take a shift watching over the holding room. A shift is typically from call time for a certain rehearsal or performance, to the time the show is over. It's maybe a three-hour commitment, total. If you have a large chorus, and everyone's parent goes once, you have at least a couple of weeks covered.

There will be parents who are unable to make it because of work, or other legitimate reasons, and you may have some uncooperative parents who refuse to sign on. But there are usually a few parents who are eager to take on more shifts than one. We usually offer 2 comps for each shift worked (with approval of house management), which makes parents very happy.

Their only duty is to shush the kids if they get too rowdy, and generally be available for the kids if they need small things. The volunteers are not expected to teach or entertain the kids. The kids bring their own entertainment.

As for incentive, if they are mature in attitude, the privilege of performing provides its own reward. I have never used an incentive system because it is one more thing to keep track of, along with cues, reports, etc. The rewards can get very expensive, and parents may not approve of sugary candy or stickers that may migrate to furniture. It also is easy to guess what may motivate a kid, but when you offer it to them, they may not be motivated by it at all. I have had many kids with a surprisingly professional atttitude who need no incentive to behave themselves.

5

Tools of the Trade / Re: Stage Manager Books/Manuels

« on: Nov 18, 2007, 12:17 pm »

If you read Fazio all the way through and still want to be a stage manager, congratulations, you are woven of the cloth.

As well as having lots of info on the educational basics, his book deals with the gritty stuff more than the other textbooks. Seperates the men/women from the boys/girls.

In the order I think they should be read: Ionazzi, Kelly, Stern, Fazio.

The one I return to most regularly for general reference is Kelly.

6

Stage Management: Plays & Musicals / Re: The Pillowman

« on: Oct 19, 2007, 11:00 pm »

We filmed "Little Jesus" and "The Writer's Brother" in a sort of silent-film style and played them on a rear-projection screen as Katurian narrated live onstage. So we only had four actors working on stage during the run, with our green girl making a brief live appearance at the end. An ASM was given the urgent task of cleaning up the green footprints fom the stage each night post-show before the paint dried.

I anticipated some walkouts due to the subject matter and this being a somewhat conservative area (another local theater's production of "Full Monty" was the target of indecency protests), but we never had any trouble that I noticed. We did note in publicity that mature themes are involved.

We sold out every night for the entire run.

7

SMNetwork Archives / Re: Tech Haiku

« on: Sep 23, 2007, 09:07 pm »

Actors wandering
We can see you from waist down
Can't you find your light?

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Tools of the Trade / Re: What goes inside a SM Kit?

« on: Sep 19, 2007, 11:04 pm »

I've located Carissa Dollar's website, mentioned earlier in this thread:

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

 Her list of suggested kit contents is under the heading "The Comfort Zone." And while you are there, read the rest of the pages as well. Great overview of SM duties, nightmares, joys, etc.

9

Stage Management: Other / Re: Otello, Turn of the Screw, Tosca...tips or memorable moments anyone?

« on: Aug 30, 2007, 11:46 pm »

I've heard of a Tosca who would not jump, but insisted on a "stunt double" for just that short moment. For some reason, a female could not be found to perform the jump, so it was done by a man. In a dress.

Not exactly a "double." The switch was fairly obvious. Ah, willing suspension of disbelief....

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Stage Management: Plays & Musicals / Re: PSMing vs. ASMing

« on: Aug 30, 2007, 11:34 pm »

I prefer ASM because I'm more in the thick of things, doing things physically. The only time I felt like a sheep in the theater was when I was asked as an actor to play one in a children's musical.

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Stage Management: Plays & Musicals / CALLING: Calling a warning for a cue

« on: Aug 02, 2007, 11:56 pm »

I never took a class on Stage Management in a formal setting. I was drafted as an ASM by a PSM friend, got interested, and borrowed college textbooks to learn more.
 
In those textbooks, I have seen the cue sequence outlined in three parts: Warn, Standby, Go.

In practice, I have never worked with an SM who uses a Warn for a cue (and I do not either) -- we just give a Standby and Go.

Is one way more correct than the other, or is it personal preference?  It seems to me like extra clutter in the prompt book, unless you have a crew member who has a special need for a warning.

12

Students and Novice Stage Managers / Re: Where do I start?

« on: Jul 08, 2007, 12:08 am »

I have no degree in theater, just a lot of experience (I practically lived backstage at a non-profit theater in childhood and worked my way upward and outward). Be enthusiastic and willing to learn. Watch for - better yet, seek out - opportunities to learn anything about any aspect of how theater works. Read books on SM skills and the jobs of others in the theater. Find a mentor. Hang around this website a lot. If you are interested in working for the same company in a higher position, let your artistic director know and maybe he/she can find you a challenge. Even if you want to try a new direction, the AD of your current company might be able to make a suggestion and even put a word in to them on your behalf.