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Messages - klcurrie

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Looking for Tennessee Williams' Camino Real.  Anyone got an editable version that can be shared?

Students and Novice Stage Managers / Re: Shadowing: General Q&A
« on: Jan 10, 2011, 03:13 pm »
I am a high school senior hoping to go into sm. I just found this thread and I am really interested in shadowing in Chicago somewhere. I looked on the broadway in chicago website, but had a hard time finding any emails. It doesn't have to be broadway, but that was just the first place I though of. Any ideas on who to contact and what is the best way to contact them???

Chicago has a rich community of regional theaters.  I would start by looking up the companies in town and finding one whose work you are interested in and then contacting their SMs by sending a letter or email to the theater.  If you can't find a SM's contact info, look for the production manager. 

Tools of the Trade / Re: PROPS: Aerosol Cans
« on: Nov 03, 2010, 08:45 am »
After trying a TON of options and getting reactions of all those involved, we did in fact decide to go with the Evian option.  Thanks for the suggestion!

Tools of the Trade / Re: PROPS: Aerosol Cans
« on: Sep 19, 2010, 07:38 pm »

Tools of the Trade / PROPS: Aerosol Cans
« on: Sep 19, 2010, 08:57 am »
I'm working on a production of THE ODD COUPLE and we're looking for something in aerosol cans that will simulate air deodorizer/lysol without sending clouds of noxious smell/smoke into everyone's faces.  Any suggestions?

The Green Room / Re: THOUGHT OF THE DAY: What's your day job?
« on: Jul 18, 2010, 07:39 am »
I work for a property management company doing the tedious tasks no one else wants to do -data entry, filing, etc.  traditional office job with a very non-traditional arrangement - they let me off for all the time I need when I have an SM job, set my own hours, and work from home when necessary.

Looking for THE ODD COUPLE.  thanks!

having just gone through this myself I agree with everything posted already - do as much prep as possible before you go; take as much as possible with you. Think about what you'll need as well as what the show will need - will you have access to a copier that isn't prohibitively expensive? what about a printer? stock up on office supplies and extras of everything.  Take as full a roster of rehearsal props and costume pieces as possible.  Is there a plan for what will happen when things get added? (in our case we had a weekly delivery from home but we were a lot closer than Ohio).  And stay as in close contact as possible with your production manager at home so there are little or no surprises when you get back.   Working on a new piece, is there a plan for how script changes will happen?  Make sure you know where the closest kinkos and staples are and be prepared to make daily trips.

And don't forget to think of your personal needs as well - don't just bring necessities but an item or two that will make your housing feel like home - a pillowcase or your own towels, a picture or two.  And remember just because you are in New York, doesn't mean that you shouldn't take a night and just head home after rehearsal.  It's great to see as much as possible, but you don't go out every night at home, do you? 

Good luck!

I can't imagine taking effective blocking notes on the computer.  I do, however, have mine in the room.  I find myself closing it most of the time, but do like to take a few minutes during a break to enter items into the rehearsal report for the day.  I never feel like I can actually see everything that is going on with the screen open.  I do check in on email at breaks as well - it's an easy way for staff and/or designers to reach me without actually having to be in the room.  And it is nice to be able to instantly research something when a question comes up.  All that being said, I have had to tell ASMs to close theirs up to pay attention to the room.  And I always ask the others in the room if it bothers them - if one person says yes, it doesn't get opened.

in the early 1990s worked on a production of Brad Fraser's POOR SUPERMAN in Cincinnati.  The show features a married man having a homosexual affair and there were many controversial scenes and both male and female nudity.  All at a time when the laws in Cincinnati were very strict about such things.  We had a "bail out" plan and a lawyer on call for every performance.  the show extended twice, tied up all phone lines in the theater for the entire run, sold out every night, and we caught people more than once with lipstick cameras trying to get things on film. 

Tools of the Trade / Re: Prop: Drugs on stage
« on: Feb 04, 2010, 08:42 pm »
we've successfully also used a mixture of sage and mint for pot.  the smell is accurate.  It tastes nasty (or so it was reported to me) but in small doses works well.

I'm curious to know what others think of this situation.  When working on a comedy which had a post show discussion about writing and performing in comedies, the moderator pulled the paragraph from one of the performance reports about audience reaction and read it word for word.  (the audience reaction information being something that the artistic director requests be included in the reports).  I have since discovered that in the past members of the staff have made performance reports public to others, saying that they had the "right" to do so.  It has always been my belief that these are internal documents used to relay information to the staff and production team of the show and in the case of say a multiuse facility, those that needed information to fix any problems that have arisen.  How do others feel about this information being made public and how would you address the issues with a staff which believes they have the right to distribute the reports at will?

Edit added label to subject line-Rebbe

Absolutely.  EVERYTHING is on paper....everything.  Ever since experiencing a large scale show that was hit by a major illness and seen a very complicated ASM track run from the paperwork (on a night when 6 people total were out), the importance of this has rung true.  We all can get sloppy and over confident, but that was a reinforcement for me that every minute detail should be in the paperwork.

The Green Room / Re: Best one-liner from a performance report
« on: Nov 01, 2009, 04:11 pm »
recently tweeted by a lighting designer friend of mine: from a perf. rep. "We lost Jesus! He was hanging out on the crucifix, and sometime during tonight's show, he escaped. We'll keep looking"

I'm working on a show now where one of the actors doesn't check email regularly.  Since the hotline is not functioning at the moment, it is a phone call I make at the end of every night to her with the next day's schedule.  I will admit it took my a little time to get used to it and only once has she had to call me and say, did you forget me? - it was the first day she hadn't been called so no seeing her leave made me forget.  But it has certainly made me closer to that actor to the point where she came to me with what she considered a small concern that i'm not sure she would have had we not had daily phone conversations. 

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