Messages

1

The Hardline / Re: Scheduling: not rehearsal or performance

« on: May 28, 2014, 11:46 pm »

Thanks, yes, I have made that suggestion to the producer.  (PS: There is no actor packet unless I create one if I ever SM for these guys again.)

As far as scheduling goes, what I'm getting now is something like this.

"ME: What about this schedule...

1:00-1:45 - Photos (Cast #1)
1:45-2:05 - crew resets
2:05-2:15 - crew break (if we're lucky)
2:15 - cast #1 fight call
2:30 - Cast #2 fight call
2:45 - house opens
3:00 - Go


"DEPUTY:  We propose this...

2:00-2:20 - photos
2:20-2:30 - Cast #1 fight call
2:30..."


I have responded by saying that I don't want to change the fight call times, but that we might be able to shorten the actual photo call period to 1:30-2:00.  It's a multi-play presentation, so I end up running around or in the booth for over three hours, so I really need that break just before 2:15.  I want to accommodate them, and I think I am, it's just the whole notion of actors proposing a schedule for a production they only see one facet of that I am concerned about.  Since this photo call wasn't on the original calendar, but is traditional at this company, I realize we're asking the cast for a favor, but we're getting close to the tail wagging the dog.

Thx

2

The Hardline / Scheduling: not rehearsal or performance

« on: May 28, 2014, 09:50 pm »

Hi there.  I'm working at a small theatre under a 99-seat plan and have some questions about scheduling photo calls.  Unfortunately, it is standard for this company to schedule archival photo calls and press photo calls about a week before they happen, even a few days beforehand.  Because they aren't on the master schedule when rehearsals begin, this "additional" time can cause problems.  This has resulted in multiple negotiations, where actors are proposing schedules and I'm having to respond with requests for more time.  There has also been a lot of tension with the director expecting the actors to agree to staying later at rehearsals, coming in early here and there, and generally not being very efficient with her time and asking the actors to accommodate her.  In light of this climate, I understand where our actors are coming from, but at what point can I say "you do not determine the schedule," or is it entirely at the cast's discretion since it wasn't on the original schedule?

Thanks for your help as I fumble around...

3

The Hardline / Re: Director Giving Notes

« on: May 28, 2014, 09:18 pm »

So, as you can all tell, I'm horribly inexperienced.  I'm sorry if my whining was offensive.

We are operating under the LA 99-seat agreement in a very small and informal ensemble company, so I spend a lot of time trying to figure out what is a rule, what is a tradition, and what is just a good idea or nice thing to do.  I thought "locking" the show was a pretty hard line, but I see that I am totally mistaken.  One of the notes I didn't want to give was one that changed blocking because I thought this was disallowed under the 99-seat agreement, but now I see that the agreement actually states that no new rehearsals may be called for changes after opening.  My error.  Incidentally, I did end up giving the "ignored" note before the next performance.  The other note I objected to was her request to change a line without the permission of the playwright, and I held the line on that one as I am 100% sure that is not allowed under our licensing agreement.

My director did not want me to forward her notes, which were via email, without rewriting them into my own language as if they were coming from me.  This was often necessary because of a snarky tone ("yikes! What is it going to take for her to remember her lines? She must pick up her cues!"), so she didn't like the "from the Director" heading, but has since given up on that objection. I have always made a sincere effort to preserve and present the show in accordance with her vision, even in the face of pushback by the cast.

The producer did actually say in a group email at one point that "after X, the show should be locked," but the director continued to change/rewrite lighting cues and make minor blocking changes. I gave up and now just try to keep the interests of all sides in mind.

So I was greatly mistaken and thought I was protecting something that wasn't protected.  Thanks for the helpful responses.

4

Stage Management: Plays & Musicals / Re: TERMS YOU NEVER HEARD OF BEFORE

« on: May 28, 2014, 08:52 pm »

I've also heard terms for moving scenery aka "0 and 10" positions. "0" is when it is in in it's active/onstage position, and "10" is when it is in its home/offstage position. I heard this on one show I shadowed, and when I used them on another tour that I was shadowing, they seemed impressed that I knew what that was NETWORK.

I've used this with my current team, but we consider "0" position to be it's home or starting position.  =/  Ruh roh.

5

The Hardline / Re: Director Giving Notes

« on: May 24, 2014, 03:44 pm »

Can I add a question under this thread? 

Our show has been open for 3+ weeks and I have a director who gives me notes to forward to the cast, since her understanding is that only the SM can give actors notes after opening.  This requires me to reformat, edit (to remove possibly problematic or offensive comments), and then send her notes on to the actors, which can be extensive. 

I have no problem with her giving notes, of course, but I can't find a hard rule prohibiting directors from giving notes after opening so I'm not sure why I have to repackage them. This just adds unnecessary work for me but when I pointed this out to her and requested that she just "cc" me on her emails and send them directly to the actors, she balked. 

In addition, her notes are often actually changes (she is very resistant to the idea of a show being "locked") that I think are inappropriate and she takes offense when the language in my emails reflects which notes are hers and which are mine, citing the importance of "a unified front" and my duty to ensure the integrity of her artistic vision and all that good stuff.  She has been problematic to work with in terms of rules and boundaries [re hours, allowing union members to vote without making hostile comments, locking any aspect of the show including changing lighting cues in the second week of PERFORMANCE, changing blocking after tech and again after opening, suggesting we change a line of text so it doesn't "sound like a mistake"] so it is important to me that my conduct is distinct from hers.

I don't want to have to fight her on each note that I think is inappropriate, so on this latest round I just verbally gave the notes I agreed with (re timing with by having the actors run those lines together, and which I had previously given) and ignored the others.

How can I handle this diplomatically but also efficiently?  Thx