Topics

1

The Green Room / Safety on Set/Stage - Sarah Jones

« on: Feb 26, 2014, 01:41 pm »

I know the Sarah Jones story has hit our community out here hard.

If you are not familiar with the story see here.

http://www.latimes.com/nation/nationnow/la-na-nn-georgia-sarah-jones-csx-gregg-allman-20140221,0,6107161.story#axzz2uS9XsMzZ

As Stage Managers we are the responsible party for the safety of our cast and crew...I have a bit of a reputation for being the "safety police" with my current employer. Of course, if I call out a safety issue before it happens then nothing happens...and I am just a pain in the butt. That is OK with me. The problem is getting people to continue to listen to me as I call out so many things that never happen. I use age and experience but when I was younger this was much harder. No one wants to be the Debbie Downer on that new cool idea. There was an incident last year when I was not in rehearsal due to a family emergency. It WAS a moment where someone should have said NO. In fact, NO was said....but overruled. We have come out of that incident stronger and more focused on listening to every member of our team. Because we are a large corporate environment we also have lots of new rules and regulations...oh joy. I now have to write a complete plan for each automation cue before I ever see it in rehearsal. Our process definitely takes longer...but it is also way safer.

Have you been following this story? What are your thoughts? How could a "below the line" (I know that is a movie reference but think someone who does not attend a production meeting) member of your crew truly know they are safe? How do they know the correct permits are drawn? The question WAS asked on this set...it is all about the trust in who is giving you the answer. Movie making is all about "getting the shot" I think in theatre we are much more safety conscious...however, I know, there are times that I have looked back and recognized we were lucky. I have also had moments of, well it is just for a minute (sometimes while I am standing on a shelf...trying to just reach that one light).

Here was a good perspective I really liked that talks about the business and changes to be made.

http://wehaveembarked.com/were-just-making-movies/

I hope that this incident spurs us to be safer. I know I will think of it every time someone tells me we are "completely ok" and I have that feeling in the pit of my stomach.

And finally...here is the Facebook page where many professionals are paying tribute.

https://www.facebook.com/slatesforsarah

We lost a light in our community and there was NO reason it EVER should have happened. I hope we can go forward with greater caution in our hearts...and heads...

2

Stage Management: Other / Intellectual Rights?

« on: Oct 31, 2013, 05:04 pm »

Hello -

I was made aware of a video by a good friend of mine. He is celebrating the hard work of his team to create an awesome Video which won a company wide contest. I think that is great. I was impressed by all the disciplines coming together to create a very polished video.

BUT.

After watching the video I recognized the choreography. It is by another friend. It is from a television show. The music used is fairly leading..and it does reference a popular dance video with specific moves. I think it would be difficult to choreograph the same piece and not have some essence of both of the previous pieces. However, this piece is exact - count for count. The only changes are staging based on the stage and removal of small solos. The performance is done by professional performers and, although his post shows it in a PR post...I would imagine the number will probably be performed for an audience. The performance would not be ticketed.

Last year I was in a similar situation at a friends dance concert. it was a college Choreographers Showcase. They used music from one of my former employers. They gave credit in the program for the music. (They did misspell the name of the company.) The choreography was a mash up of a specific artists choreography. Different pieces put together but exact dance moves with exact counts. The moves are iconic. Because it was a "choreographers" showcase I was somewhat off put by the performance. This was a ticketed performance and this number was the finale of the first act.

They say imitation is the highest form of flattery. Is this illegal? Should it be?

Would this be different if it was a group of amateurs performing for friends and family? What about the dance concert?

I know there is a hardline on this...and a very soft one. Where is the line? I tend to draw it at the counts. If I could learn a dance by watching someone else's video of the dance. That crosses a line. If I could learn phrases that is questionable. If I am learning style by watching the video that is inspiration and acceptable.

I was wondering what other people thought?

3

Stage Management: Other / Special Skill: Basic Rigging and Automation

« on: Jan 01, 2013, 01:48 am »

So - I am seeing this on more and more resumes. I wonder what it really means. Does this mean you have pulled a curtain? Pushed a button? Can you set limits? Rig a curtain? Do you understand dynamic loads? How about encoders?

Here is why I wonder. A very long time ago I found myself in an automation heavy position where I was running an automation board as a stage manager because I had technical skills on my resume and could talk a good line. I took that job and learned a lot. It opened up a whole new area to me but I certainly did not expect that coming into it.

I am working on a project that combines stage management and automation and it has me looking at resumes...and I would be very interested in how you all interpret this part of your resume. What experience are you seeing in SM's....especially those just out of school (which is where I see this listed the most).

And...to open up a bigger discussion. How much automation are you finding in your work. I wonder if this is stronger in the college environment and a few big cities and national tours. Budgets are being cut. Is that cutting your automated pieces?

Do you like automation in your shows? Do you feel it limits you? It was once said...in a chat on this site....that automation can keep you from "breathing a show". I still feel I can breath an automation heavy show but I have experience on both sides of the headset and I think that gives me a different perspective...I know many stage managers that are not happy with these shows. I know others that just can not wrap around it. The stage manager who says...."I will just keep calling cues and automation let me know when you catch up"....actual quote...SMH

Anyway, I am really interested to hear some opinions. 

Automation? Love it/ Hate it....Standby....GO

4

Stage Management: Plays & Musicals / PROFESSIONALISM: Stage Manager as Disciplinarian

« on: Oct 23, 2009, 12:53 am »

Everyone makes mistakes. I believe we are defined by how we treat people in their weakest state. I know my weakest state is when I have screwed up. I beat myself up and can definitely be found awake many hours later replaying what I should have done better. As Stage Managers we are frequently put in the situation of having to discipline people when they have made a big mistake.

How do you deal with this? What techniques have you found to keep people listening and not defensive?

The GSM of my show at Cirque was brilliant at this. He was able to open a conversation about why things went wrong and really listen without preconceived notions of why someone would do what they did. The result of this was much better communication between stage management and the rest of the show staff. I have tried to honor him by using this technique, sometimes I am successful and sometimes I fail but I keep trying. I also am always willing to put myself in someone else's shoes...empathy can go a long way.

So, what are your techniques?
How do you discipline?
How do you keep yourself listening?
What if the mistake is huge? What if someone is hurt?
How do you move on?

Do these techniques vary with different department? Do you treat technical different from artistic?

What about in your own team? How do you deal with a Stage Manager that may be naive but is also very wrong?
How do you keep them listening while setting them on the right path?

I do not have the answers here but i am very interested in hearing your thoughts.

Edit to subject-Rebbe

5

Tools of the Trade / New Flexbinder

« on: Aug 05, 2009, 02:22 am »

Hi Guys -

I am in love with this new binder and I have to share. it is a three ring binder with a cloth spine. You can lay it flat....or, my favorite, fold it in half and and it still sits flat. Love it!

http://www.amazon.com/Five-Star-Hybrid-Notebinder-28173/dp/B0028Y43VI/ref=pd_sim_op_1

6

Tools of the Trade / Women's Harness for Rigging

« on: Jun 02, 2009, 01:02 am »

Hi -

I am looking for  new rigging harness and wondered if anyone had any suggestions. I am currently looking at the Yates Womans Voyager Rigger Harness.
http://www.yatesgear.com/rescue/image.htm?Womans%20Voyager%20Riggers%20Harness&industrial&380WWomensRiggers.jpg

This is the only Y Harness I have worn. The only thing I know is that I do not want an H-Harness. Those were not built for women!

I am looking for any suggestions and reasons why you liked other harnesses.

7

Tools of the Trade / Rehearsal via Skype

« on: Jun 01, 2009, 08:17 pm »

I am currently working on a project that is continuing rehearsal beyond it's original contract dates. As a result many of our designers are moving on to other projects and leaving their assistants to finish up. Our Aerial Designer left two weeks ago. After the Executive preview the creative team decided they wanted to redo the flight sequence. So he has been reworking it via Skype/iChat from backstage at his current show. There are so many issues with the reasons why this arrangement was needed but that is an entirely other topic.

Here is my question. Have you ever used Skype, or another Video service, in a a rehearsal process. Was it successful? What were the drawbacks? If you have never used this type of service for rehearsal can you imagine an instance where you might?

We have found sometimes the video is jerky so we are also using an iFlip and a mobileme account to post videos. Our designer can watch them and give us feedback to reprogram. This has been a stressful way to reprogram but a lot better than not being able to have his input at all. I did have a moment the other day when I was quite impressed by the technology we were using. We were using music from an iPhone through the amp, recording with an iFlip, posting to MobileMe and were joined by our AD on iChat....this rehearsal is brought to you by Apple...

8

Tools of the Trade / This show has been running forever...

« on: Aug 23, 2007, 03:46 am »

Hi All -

I wanted to pose a question to those of you on productions that have been around for years. I am wondering how such a length of time changes the way you do your job. I am currently working on a show that has been running for 6500 performances. We have a lot of new technologies and toys that we can use because of that time. Many of the items we use on a daily basis are only in place because we are the 11th or 12th or 13th SM's on this show. We have had the input of many different styles and focuses. We have the luxury of a show that has not had a technical rehearsal in ten years. We have the time to take a breath and wonder what can be done better, what can we streamline...

For example, we have a calling script that is built in an excel spreadsheet, it is formatted to include links to "alternate call scripts" for different versions of the show; Acts that go in and out (yes it is a circus), Large Scenery pieces that stop working (No Turntable, Lifts, etc...), Medical & Technical Rescues. I feel very privileged when calling this show to have the knowledge of all the stage managers before me at my fingertips; If a show goes off the tracks in a completely new way we, of course, do the best we can but we have the advantage of then sitting down and decidingif we could have done it better. The better version goes in the script for the future. It might be 5 years until that exact series of events happens again but, we will be much better prepared next time. (I can do this on a shorter run, but it so rarely happens again We have addressed some common concerns that I see about calling from a computer in this script. It is created on a black background to lessen the glare and adjustment when looking from script to stage. We have colored boxes and type for Camera moves, Cue Lights, Links to alternate versions...Etc.. We used conditional formatting for the background so we can flip to white to print it out. A completely updated printed version is ALWAYS kept in the booth in case of technical failure. I adore this script. I did not think I would ever be able to give up my pencil on the next line but I have adapted. Now I am not looking forward to going to my next show and adjusting back to a paper script full of paper clips, post it notes, stickers & arrows.

We also use a database that is used throughout the company on all of the shows. It allows us to cast and print a lineup of the show each night. It tracks artist cues, competencies and level of difficulty of each show so we can compare artists track to themselves or others on a show by show basis - or year by year basis if we wanted too. We also use it to - schedule fittings; keep a Chrono (timer) of the show; enter SM & Technical notes; create, distribute & print show reports; track & submit payroll; enter & track discipline...and so many other things.


So...a few questions to get us started

Have you, or your company, developed programs to assist you? Do you have "SM software" that is company specific?
How do you handle the information from previous SM's? How is it handed over? Did you inherit a script or start your own?
How are incidents in a show archived and how is your access to that information handled? Could you access it during a show if you needed to? Do you feel it it would be useful to do so?
Do you have a database to track casting? Do you need to other than for archive or payroll?
                                   I know most of you do not recast cues each night, let me tell you what fun it is 
How do you feel your role as an SM has changed since you have "inherited" this show?
What other issues do you think are different for these situations?

I work on a rather large and non traditional show. I will again, someday, tech & call a show that is all mine, but that is not my world for now. I know it has changed my focus and the way I view my job. I would love to hear thoughts from others in similar situations.
 - Dani

I was not sure where to put this question so I posed it here since my primary question is about new tools being used.