Topics

1

Job Postings / Urgent! DC: Spanish-English Bilingual non-AEA SM. Rehearsals start in 2 weeks...

« on: Jul 14, 2015, 06:34 pm »

Hey all,

I'm looking for a bilingual SM again. It's a long story, but we were led to believe we had one and we apparently don't. I'm PMing the show so I can't SM it as well.

Rehearsals start August 3rd, show opens September 10th and closes October 4th.

Send me a PM for more details! I'm open to hiring out of town.

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Stage Management: Plays & Musicals / COMMUNICATION: Ignoring line notes, improvising

« on: Apr 08, 2015, 02:42 pm »

Hi all,

I have this one problem actor in my hands. This is my third show working with him, and the whole production team was aware of the various problems he has before hiring him for this latest show. I'm really not sure if the problem is his "style" or a growing memory problem, but what it comes down to is that he never does the same blocking twice (he never seems to know what scene is coming next, and has left actors hanging in previous shows) and he improvises his way through the text. He seems to think he's a better writer than the playwright, so he'll deliver the same lines the same wrong way every single time and ignore my line notes, even when given verbally and even when the director or a fellow actor repeats the note to him. He also mumbles a lot and will keep adding lines ("I'm sorry, forgive me" becomes "I'm sorry, I'm so sorry, please forgive me, I won't do it again, I'm sorry").

My questions are:
1) Is there anything I can do to make him, or actors like him, get his lines right? The whole production team knows he isn't getting them, and the director himself has said that he'll be happy if the actor can paraphrase his way through the show. But I don't know what I, as the SM, can do past writing the same notes every day and talking to him about learning the text.
2) How do I defuse some of the tension at work? The rest of the cast and the director are getting incredibly frustrated and rehearsals are getting really heated because he gets furious when a different actor messes up a line, but he won't take accountability for skipping a whole scene or jumping back to the beginning of a scene when it should be ending. The director has sent him home twice to learn his lines, but there's been no improvement. And we're 2 rehearsals away from tech!
3) Of course it won't help in this situation, but has anyone come up with a good way to note added sentences when giving line notes? I've been writing the accurate part and drawing an arrow with "added line" where the rambling begins, but I'm not sure if there's a better way to do this.

3

Job Postings / DC - SM needed for children's play in February and March (Non-AEA)

« on: Jan 19, 2015, 01:51 pm »

GALA Hispanic Theatre is looking for a stage manager for a remount of a bilingual (Spanish/English) children's play. SM doesn't need to be  fluent in Spanish, but will need to be able to follow along, take cues off of the text, and give line notes. Rehearsals will all be in the mornings, and performances are Mon-Fri in the morning and Sat in the early afternoon.

First rehearsal - February 16th
Opening - March 9th
Closing - March 21st

PM me on here for more details!

4

The Green Room / I'm back!

« on: Jan 18, 2015, 03:22 pm »

I've had a really busy and challenging couple of months at work. My PM left in November, we still don't have a new one, and a lot of the PM and admin work has been dropped on my shoulders. It's been "interesting." I'm also not SMing anything until March, so I'm suffering from a bit of withdrawal.

But I'm back on SMNetwork now! Hi again, everyone!

5

The Hardline / Changing rehearsal hours?

« on: Aug 20, 2014, 03:07 pm »

I have one equity actor under a GA. A small cast, most of which are just in town for this show, means that only three rehearsals in the director has already changed the schedule for the next day, twice.

I have found that Tier III (which my actor is) has a max 42 hours of rehearsal and one full day off a week - are there any guidelines, aside from breaks and the 12 free hours in between, that I should keep in mind? Anything limiting daily hours, or the number of long rehearsals we can have?

Also, while I think it's rude to start one rehearsal by drastically changing the hours for the next day, I haven't been able to find anything regarding notice (24 hours, 2 days, whatever) for rehearsal changes. But I know advance notice is required for added performances or photo calls, so I want to make sure I'm not missing something. Is there a way these changes should be handled?

6

Stage Management: Plays & Musicals / JOB DESCRIPTION: Explaining my job over and over and...

« on: Jun 01, 2014, 11:23 pm »

This season, I have worked either as an SM-light OP or a sound OP for every single show at my current theatre, and I'm already scheduled to work the season opener for next year. Due to staffing changes, I've also become the house technician, carpenter, and main event/rental tech - any time we rent out the space, for a movie, concert, church service, or awards show, I'm usually the one running lights and opening/locking up the space. But while I'm happy to have a semi-steady job (as steady as an SM gig is going to get without signing a full season contract), I'm growing frustrated over my constantly having to explain myself and my job to cast after cast and director after director - sometimes also having to explain my crew's jobs. Since it's a Latino theatre, most of the artists are from Spanish-speaking countries, where apparently they don't have SMs but have an Assistant Director during rehearsals and a show-caller during the shows.

Not only do I have to explain myself, but I also am not given the space to do so and have to awkwardly take it. For example, in first rehearsal we usually say names and a bit about ourselves, the director explains their hopes for the work, and instead of me having the space to introduce myself properly, give out my wallet cards, share non-phone ways I'm available (I'm not paying for international calls out of pocket every time someone's late), and the like, the director goes straight to rehearsal things. I'm rarely given the space to even say my name if I don't awkwardly take up that space and interrupt someone.

I think these international performers and creatives see me as some sort of intern or student, taking copious amounts of notes out of a sense of wonder for the industry. I have gotten lip from people for going over the next day's schedule before they're released ("Well, well, well, Ártemis, it's 3 o'clock. Why aren't we doing scene 3?"), for being the one giving breaks and calling them back after, for reminding them of their blocking, for giving line notes... The list goes on, and it doesn't get better with time because the casts are new every time, and we hire Spanish-speaking artists from any country you can think of. The directors, though not new every time, primarily work in SM-lacking countries and are uncooperative and supportive. It's a miracle if I get to meet with them before first rehearsal when they walk in at the same time as the actors - so I can't preemptively explain my job, ask for their own preferences, and ask (beg?) them to let me properly introduce myself and distribute SM materials. This is at a theatre that had never even employed an SM until 7 or 8 years ago, and it's about to hit the 40th anniversary of its founding.

Has anyone dealt with anything similar? Any brilliant ideas to make the space I need for myself? It seems counter-intuitive to MAKE space for me rather than try to remain in the shadows, but I simply can't work if my work isn't understood and respected. Has anyone maybe worked in community theater and found similar issues? I'm incredibly frustrated that I spend the most time at the theatre (rather than the office) out of the entire theatre staff but nobody seems to value my work, experience, or skills. How can I be fulfilled at work like this?

Edited to add topic tag. - Maribeth

7

The Green Room / "Indeed" says 50k...

« on: Apr 30, 2014, 03:48 pm »

I have a couple of google alerts set up so when sites with certain keywords go online, I get an email. For example, when someone mentions my theatre or current plays.

I got a notification today for stage managing dc that made me laugh (and reconsider my life choices). Indeed is claiming that SM internships in the city e city are paying 50k on average. (http://www.indeed.com/salary?q1=Stage+Management+Intern&l1=Washington%2C+DC) No sources, of course.

Who's giving out these internships and how do I get one? Can I switch from freelance to intern, and stay an intern until I retire?

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The Green Room / Citizenship!

« on: Mar 22, 2014, 08:47 pm »

This is absolutely unrelated to anything, but I just passed my US citizenship exam yesterday! Hurrah!

I'm not a citizen yet because I still have to do the oath, and apparently DC only swears 100 people in a month. So it'll take a little bit. But Hooray me!

It was actually incredibly easy and it felt a lot like a trip to the DMV - aside from getting fingerprinted. But that doesn't mean I haven't spent the past month dreading failing it.

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Stage Management: Plays & Musicals / FORMS: Remount forms?

« on: Mar 14, 2014, 03:11 pm »

I've just found myself in a fantastically insightful situation: I closed a kiddie show that will most likely be remounted next year just as I started rehearsing for a remount I hadn't seen or SMd before. I had no remount experience before this, so after the first week of rehearsing for the remount I sat down and redid the binder for the closed show - both in case I've forgotten it all by next year and in case someone else is SMing it.

This comes out of my frustrations with the limited notes the original SM left me which have at times complicated rehearsals - blocking is only noted when a LQ or SQ is called off it (we've had to use the actors' old scripts), and there's no complete props or costume list. I've also found a couple of spots where I definitely wish the old SM had left me some guidance - "actor 1 should ready prop A when they're offstage here," for example - and started typing up a list of hints/advice for the future SM of my closed show over this. Both of these are small, 1-hr shows with 4-people casts, mind you.

What do you, as SMs with more remount experience than me, find helpful info for remounts? Of course there will be things specific to the show itself - you don't need a trap cue list if there's no trap - but what about in general? Is a list of hints a good and helpful idea, or a bad and condescending one?

Edited to add topic tag. - Maribeth

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The Hardline / "Soft" rehearsal schedule and breaks

« on: Mar 13, 2014, 11:37 pm »

I'm working with a Guest Artist for the first time. I've done my homework and read over the AEA manual and looked over the sub-board, and I'm confident with most things (plus the actor himself is really nice, works with my theatre a lot, and is open to talking about things that might not be up to Equity standard), but I have one breaks/scheduling question:

Do I start my break stopwatch at the scheduled call of rehearsal, or when we actually start working? Or when my AEA actor walks in? He's always on time, but a couple of my actors are consistently late (a separate problem we're dealing with) so if rehearsal is supposed to start at 7 they might all make it in by 7:20, warm up, and we'll start working at 7:30. Or something along the lines.

If my actor isn't really "working" and is doing things he could do during the break (chat, text, read...) BUT cannot leave the room so he'll be ready to go as soon as everyone gets in, is he on the clock?

11

Tools of the Trade / TOOLS: Washi tape for prompt books!

« on: Mar 07, 2014, 06:01 pm »

I have finally found the perfect solution for my book.

Over the past couple of years, I have been using post-it flags for cues, but cutting off the non-sticky part of the flags. That's why the post-it tape roll would be fantastic for me, if only it were narrower.

I was at Staples this week and noticed they had washi tape (which is weird, because this was the one, out of three Staples I've been at recently, that carries washi tape) on serious sale. Usually the small Scotch rolls go for 3 or 4 bucks each, but they're going for $1 at my local store. So I thought I'd get a couple of the solid or lightly-patterned ones to see what the online hype is about. I don't see myself using them for craft projects, but they are EXACTLY what I want for my cue notation!

They're translucent enough (you can see about how much on this patterned listing http://www.staples.com/Scotch-Expressions-Washi-Tape-Quatrefoil-Sunset-3-5-inch-x-393-inch/product_200551) to see the text underneath while still standing out, so they work a lot like the translucent post-it flags I've used in the past. They're basically masking tape, so they stick well but are easily repositionable, and they come in a roll so you can slap them on a tape dispenser and leave them on your tech table. You can write right on them with a sharpie, and they come in different sizes and colors so you can find your favorite.

Again, I got them super-cheap, but they're long enough to be absolutely worth the 2 or 3 bucks a roll you can find them for online. Do check out your local office store, though, and see if they have any sort of offer going on.

12

The Green Room / Thank you, technology!

« on: Feb 19, 2014, 01:43 am »

Related to my other post about old theater manuals: I am currently incredibly thankful for technology. Here are some excerpts we can celebrate are obsolete:

• "It is desirable to have each edition [of the script] mimeographed. Mimeographed editions come in lots of twenty-five or more copies and are fairly costly (about $1.50 per copy, as an average). So, care must be taken that each edition is approved by the playwright, producer and director before being sent to the mimeographer." The Stage Manager's Handbook (1972), page 3 http://www.amazon.com/Stage-Managers-Handbook-Bert-Gruver/dp/0896760073 (Three cheers for home printers!)
• "Stage Manager's Daily Meeting: If the producer does not have regular and formal staff meetings, the stage manager's first duty is to check with the office for advice. The producer may not have been able to attend rehearsals and will want a progress report." The Stage Manager's Handbook, page 60 (Hooray for e-mailing rehearsal reports!)
• "During the tour the stage manager will need a certain amount of equipment and supplies. ... A typewriter is practically indispensable." The Stage Manager's Handbook, page 127 (Thank you, laptops!)
• "The Rehearsal Room. If you cannot rehearse on stage you will need to find a suitable room or space. There are many things to consider - ask yourself the following questions: ... Can the room be blacked out? - you may need to show slides ... is there a telephone you can use? Will it take incoming and outgoing calls? What's the number?" Stage Management and Theatre Administration (1994), page 20 http://www.amazon.com/Management-Theatre-Administration-Phaidon-Theater/dp/0714825166/ref=sr_1_1?s=books&ie=UTF8&qid=1392788634 (Wooo laptops and cell phones!)
• "If the director wants to rehearse with recorded sound you will need a tape recorder. ASk whoever is making up the sound tape for te production to make up a tape for rehearsal." Stage Management and Theatre Administration, page 28 (Yay for laptops, smart phones, music players, email, YouTube, the cloud...)
• "The text in the prompt script has to be accurate. Make all cuts clearly, using straight lines in soft pencil. Insert and change words distinctly. If a large section of the script has been rewritten retype the whole page. If the rewritten section is only a few lines long then type the new text on a slip of paper and stick it on top of the old text." Stage Management and Theatre Administration, page 35 (Four for you, computers! You go, computers!)
• (On rehearsal reports) "It is a good idea to keep one daily sheet of blank paper on the rehearsal table, dated, with each department's heading on it, so the stage manager os assistants can add all notes to one specific place. These notes should then be entered in shortened form onto the daily report and kept in a folder for the designer or crew." The Back Stage Guide to Stage Management (1991), page 85 http://www.amazon.com/Back-Stage-Guide-Management/dp/0823076814/ref=sr_1_1?s=books&ie=UTF8&qid=1392789590&sr=1-1 (You're the best, internet.)

Aside from these specific anachronisms, I am learning a lot - particularly about how some SM responsibilities have evolved. For example, it makes total sense why the SM should be in charge of the rehearsal schedule - without internet, who's going to speak to all the actors, the director, and any techs who should be present and ask for their schedules? I'm also enjoying looking through the sample lists (of props, costumes, lights, and the like). Since they couldn't be quickly and easily changed as a shared computer file, they needed to be easy to edit while conveying all the necessary information for the designers coming by the office to read the reports while the SM wasn't around.

I think it's really cool how much things have changed, both within the industry and in civilian life, as technology has changed over the past fifty years. =)

13

The Green Room / To cue or not to cue... (Old-school SMing?)

« on: Feb 19, 2014, 12:27 am »

Lately, I've gotten into reading old SM (and lighting) books, both to count my blessings (make sure we have a working landline in the rehearsal space? Thank you, cell phone, for taking care of that one!) and to learn about how our job has changed over the years.

I am, however, also reading things that make me wonder if they've changed or if they still happen, just not in my "kind" of theater (non-equity, straight plays in DC, with primarily foreign directors and performers).

For example: in reading this book (http://www.amazon.com/Stage-Managers-Handbook-Bert-Gruver/dp/0896760073), from '52 (and revised in '72) and geared toward equity productions, I'm finding "direct cues" versus "indirect cues." Direct cues are defined as visual or line cues, and involve people, whether actors or crew, taking the cues on their own. Indirect cues aren't defined, but involve giving a cue - preferably via a person like an ASM, lest the cueing system fail.

Is cueing via headset - and particularly cueing for everything - a new development? Of course there are things that should happen without SM direction: live-mixing sound shouldn't depend on the SM giving a GO every time a person starts or stops speaking. But is trusting a Light OP to GO when a line is said or when a person enters done anywhere? Was this ever actually common in the 50s, or am I being deceived by this book?

14

Tools of the Trade / Half-size binders

« on: Feb 19, 2014, 12:12 am »

My producer seems to have recently fallen in love with half-size binders (about the size of an iPad), and they are all over the place in my theatre. I confess that, seeing them every day, I'm starting to like them - I like that they wouldn't take up all of my table during rehearsals, for example, so I could have more space for line note forms, checklists, and designer notes. And they would absolutely reduce the size of my work bag, which is currently big enough to fit a 4" full binder. I generally like the idea of my binder not taking up all the space in our (small) light booth.

The question is: Are they too small? I don't know how I would lay out my pages; whether they'd contain half the text as the regular script, or if I'd print them in a smaller font - and then, would my notes fit? What do I do with regular-size sheets of paper people give me? Am I just liking these binders because they're adorable and seem to have cuter designs than full binders?

Do any of you use half-size binders for work? How do you organize them? Should I give up on my dreams of a smaller work bag?

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Stage Management: Plays & Musicals / CALL BOOK: Repeating music score - how do I mark cues?

« on: Jan 19, 2014, 01:00 am »

I'm working a show that includes songs with repeating verses (example image linked below), where the music itself will repeat and my score numbers the lyrics. I'm not really sure of what the best approach is to mark where each cue goes. My scores are really crowded and I don't know if I could even fit a note on the lyrics, but I also don't want to put my notes on the piano part in case I call it in the wrong rep. I'm sure this is an issue you've all had to deal with before, and you might have some brilliant ways to deal with scores like this one.

Mind you, I'm not the best at reading music (I can follow it if it's playing, but I can't look at a score and tell you what it will sound like). Thankfully, my light designer for this show doesn't either and is lighting it like a dance show and taking cues off of choreography. So this isn't a pressing issue, but one I'd like some tips for so I know how to work it next time.

http://www.klemm-music.de/motu/software/dp7/i/highlights/notation_lead_sheet_xl.gif