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Messages - forner

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Thanks for these helpful responses. As a follow-up I'd like to know whether the recent LORT contract specifically addresses the situation when the stage managers miss their meal break in order to attend production meeting? Thanks again for your support and advice.

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The Hardline / Question about working through the meal break
« on: Aug 17, 2018, 01:02 pm »
Need your advice:  I am PSM at a LORT ‘C” theater and am in rehearsal for  HELLO DOLLY. Just before the Company went on its scheduled one hour lunch break the director  announced he wanted to have a stumble-through of the entire show after lunch ( A major schedule change!!). I have two ASMs and one production assistant. My question is whether to: Take our required one hour meal break and return in a hour to preset for the stumble-through  thereby delaying the start of stumble-though; OR do the preset over the lunch break and eat in whatever remaining time is left before afternoon rehearsal begins; OR advise the Producer stage management will be putting in for penalty meal time if they have work through the meal break; OR stagger  individual breaks of stage management so each has a full hour to eat as well as preset for the stumble through;OR immediately point out to the director some of the consequences his decision to change the schedule have made for stage management. I am assuming that all members of the stage management here will support the final decision. I know there are other solutions and I  welcome your alternative suggestions. Thanks!

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Hello Everybody

I'm curious how you would handle emergencies during the show. How do you and your cast handle them? Do you discuss your plan during Tech Week, perhaps at First Tech? If so did your cast/crew follow your instructions?  What kind of announcement do you make for a technical, fire, medical or weather related emergencies such as earthquake, tornado? Do you always checked your own evacuation route from your booth, or perch ?

Edited to add topic tag- Maribeth

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Students and Novice Stage Managers / RE: First day of tech
« on: Jul 18, 2016, 06:33 pm »
It's your first day of Technical Rehearsal. You and your assistant(s) arrive at the the theatre. What's on your checklist? Dressing room siigns?
Directional signs? Setting up the call board? Checking out safety issues: stairs, platforms, light booms, etc; Checking out tech table? Checking out communications:  show &  paging levels. Cue lights: positions, labelled on SM console. Green room (if available): hospitality, Equity cots.
Distribute company roster to theatre personnel: ex. doorman. Your comments are appreciated.

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Yes there is all that paperwork that stage managers create in rehearsals and happily pass on to wardrobe and hair/makeup departments in written documents. But remember when everyone moves into the backstage space in an open-ended, a limited run or on tour, stage managers are called upon to use the skills as a mediators. Even with advance planning questions always arise during load-in about locations for wardrobe presets and quick change areas -- not to mention finding adequate spaces for touring Wardrobe/Hair departments to set up their work tables, mirrors, chairs, washer/dryers, wig ovens, etc. This is when stage managers step forward and directly work with heads of the backstage departments to reach satisfactory solutions or adjustments for the backstage crews and the show as a whole.

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Tools of the Trade / Re: Clock for Backstage Tracks
« on: Sep 02, 2015, 09:49 pm »
Like most of you, I have always included summary timings for scenes and acts on the run sheets; I also provided when a move or task starts; when an actor enters or exits. These times can help all department, particularly the Props and Wardrobe departments with prop hand-off and prop catches or quick changes.
I agree with those who report that crew members want to know much time there is between cues or moves. It helps to know this because the crew can plan to accomplish other tasks, prepare for the next move or just chill.
I offer another way crew members are able to keep in sync with the show and that is to associate specific light cues with their tasks. (Of course these technicians have to be on headset and on the same channel as Electrics).

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Stage Management: Plays & Musicals / TECH: tips for glo dots
« on: Feb 06, 2015, 07:48 pm »
So here's how I prepare to use glo-dots in tech. First I use a hole puncher to produce individual dots. Then I peel off the backing (sometimes you need a fingernail to this or a straight edge razor). Next attach the sticky side of the dot to a sheet of wax paper. Repeat this as many times as you like before tech and you will have the glo dots ready to place on corners, steps, railings, etc. I find this a more efficient method than to wait until someone asks stage management for a glo-dot. Of course you can use this technique for glo strips too. I'd like to hear what your method is.

Edited to add topic tag- Maribeth

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I am interested in anyone's use of what I call 'articulation marks' to call cues. An articulation mark is a point in your script where you vocally begin the lead in  to  calling the G-O (Lights 32......GO). I find this reference point provides the calling  consistency from show to show as well as providing a rhythm for the show operators. Thanks for your response(s).

Edited to add topic tag - Maribeth

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I'm rehearsing a decent sized show right now - 16 actors, 8 dancers, 21 musicians.  The show is great, the people are lovely, the rehearsal hall smells funky.

 Add some eucalyptus oil to water in a plant mister. The former can sometimes be find in a drugstore.  Spray before rehearsal begins. Check for any unplanned puddles on floor

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The Hardline / Re: LORT - Rehearsal Questions
« on: Oct 04, 2008, 01:16 pm »
I guess I'm jumping into pretty cold water at this point but I would be interested to know the reason for the
early call for actors who are performing as well . When you are making-- and you alone are making up the schedule-- you might want to consider allowing outside time (and I'm thinking morning hours) for your actors to learn and prepare the new lines, staging, music or choreography for the next  day's call. It might make for a better rehearsal later that day.  It is however nice to know you were allowed to schedule  a long break between  the end of 5.5 rehearsal and the half hour call and not just  1.5 or 2.

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