Messages

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Stage Management: Plays & Musicals / Re: PROPS: Sweeney Todd's bloody razor.. Ideas on How??

« on: Aug 03, 2016, 06:54 pm »

I've got great blood, and great razors, and great bladders/pipettes. The problem I'm facing is that the blood is detergent based as per the costume department, so no matter what we try to attach the bladders/pipettes to the razor's with (epoxy, hot glue, superglue, Goop, JB Weld) as it is soaked in the soap-based blood it softens and detaches. What can stand up to the soap, OR what other washable blood options do we have? PS, we are out of money.

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SMNetwork Archives / DANCE: Ballet ASM question

« on: Oct 20, 2005, 04:54 pm »

Has anyone ASMed for a ballet company? How is it different from theatre and/or opera? I know opera is a whole different animal from theatre, is ballet another entity unto itself?

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Stage Management: Plays & Musicals / Great ASM

« on: Oct 19, 2005, 12:18 pm »

I totally echo everything said so far. A good ASM is worth their weight in gold. Be wary of the barefoot with the miniwelders, and also of the ones whose first reponse is "that can't be done."  Praise and encouragement is essential, but also be very clear and firm at the very beginning as to what you expect, and that you are there to help them. Hold them to your standards, don't let them get away with blaming things on other people- especially on actors. ASMs need to know that they are responsible for eveything, just like you are, and even if something happened because of someone else, they should be actively taking steps to make sure it doesn't happen again.
There are a few essentials I do give to my new ASMs, though which you might consider: I give them a black fanny pack with band-aids, safety pins, and a supply of glow tape already cut into little 1" pieces. I tell them I expect this to always be on them in rehearsal and performance, they need to refill it as necessary,and that they need to get themseves a small maglite or LED blue flashight as well. At tech, I bequeath to them, "The white gaff, that makes all things visible to actors; and the black gaff, that fixes all things. Keep these in your reach at all times, and the show shall run smoothly."

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Stage Management: Plays & Musicals / Where do you draw the line? (Producer rant)

« on: Oct 07, 2005, 09:14 pm »

Wow, what an unpleasant experience. I'm there with you, too.
I SMed in summer stock where the SM team (including the SM) was not allowed Clearcoms or walkie-talkies or ANY form of communication. Not just neglected, not allowed.Now, this seemed strange, since the LBO had a clearcom, the SBO had a clearcom, the conductor had a clearcom, and the instrumentalists all had clearcoms. This was just one in the long line of weirdnesses (I was told by the production manager that I couldn't store rehearsal props in the rehearsal room) in the place that we, the out-of-town hires, came to know lovingly as Backwards Land. I came to the theatre one day to find a note stabbed into the door with a seam-ripper from one of the stitchers, informing us that she was leaving.
Anyway, I stayed, partly for the challenge. I said, "well, what if I didn't have what I needed, how would I do what I need to do?" and I treated it like survival camp for stage management. My ASM and I worked out an ingeneous system of hand signals and checkpoints (we were in the round, did I mention that?) to communicate, and I wrote my calls in the books of the LBO and SBO and let them take their own cues while I ran the deck with the ASM and took care of the actors. I did the cue lights myself, and on the super important timing cues, I went and stood next to the appropriate board op (and by the way, they were in two seperate booths across the theatre from one another), made them take off their clearcoms (which they only used to gossip withe the orchestra), and I called the cue in their ear.
It got to be kind of fun, and I learned that the show can go on even when morons are in charge, as long as the SM keeps her sense of humor and  creativity.
However, I have walked off shows before, too, and there is definitely a time for that. It sounds like you found that point. Better luck next time.

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Stage Management: Plays & Musicals / Drop Count

« on: Oct 07, 2005, 08:56 pm »

In a production of "Much Ado" our Benedick was an incredibly funny man, and our Beatrice had one scene in which she could very seldom look at him and keep a straight face. The rehearsal reports included the score as to which of them would conquer the moment. Final score: Benedick 17, Beatrice 8.

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Stage Management: Plays & Musicals / training assistant

« on: Oct 07, 2005, 08:48 pm »

When I'm training a new ASM, I like to assign a specific area to her/him for rehearsals, so they feel like they have some ownership without getting overwhelmed. I usually assign costumes, props, or shift choreography, and explain or give a checklist for whatever area I've assigned. I check in with the ASM at every break to see how they're getting along, and if they're bored, I step up my expectations in terms of paperwork or perfection, and if they're overwhelmed, help them to prioritize and organize. By the time we get to tech, the ASM feels like they at least know all of something, which can mean a lot when you're new to the job. A day or two before tech, I sit down with the ASM and go through the entire show from preset to post-show scene by scene and make sure we both know exactly what needs to be done, and which of us is doing what. Then it's a matter of constantly communicating with the ASM during tech, letting him/her know exactly what you expect and where you expect them to be when, and that they can call you at any point if they are unsure. One thing that is extremely important when training a new ASM is that you must present to the cast and crew a united front, that you and the ASM are a team, and that the ASM has your complete trust and confidence. The new ASM will not necessarily be able yet to command respect from the cast, and will appreciate and (hopefully) live up to your vote. If anything goes wrong, DO NOT reprimand the ASM in front of cast and crew. Deal with them diplomatically and privately, as you are a team. They will appreciate this as well, and will repect you the more for it.
Good luck!

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SMNetwork Archives / Interesting (and unusual items) - what have you accrued?

« on: Oct 07, 2005, 08:33 pm »

I have a piece of wood. It's a very special piece of wood. It is exactly long enough to be the straight edge when I draw those lines in my book during rehearsals for blocking or whatever, but it is only about 1/2" wide, and it's squared at the ends (it's kind of hard to describe). Anyway, it fits across the rings in the 3-ring binder the way a ruler just never does. I found this piece of wood randomly about 2 years ago in the rehearsal room, and it has stayed in my rehearsal book ever since, with the words "Jen's Blocking Stick" written on it in black Sharpie.

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Stage Management: Plays & Musicals / Sign Language

« on: Oct 07, 2005, 08:26 pm »

If you're interested in a good summer gig, between seasons or whtever, Seattle Children's Theatre has a great summer program for deaf teens, a musical theatre program, if you can believe it. They have a really spectacular staff, and it has been an incredibly rewarding experience for everyone I've known that's been involved. A few summers ago they did an interpretation of "West Side Story" that was truly amazing. Their website is www.sct.org, and I believe Linda Jo is the person to contact, but click on the "jobs, internships, and auditions" to be sure.

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Stage Management: Plays & Musicals / PROMPT BOOK: Scripts on cardstock?

« on: Oct 07, 2005, 08:18 pm »

Hi all-
I was unpacking some old boxes and came across my old Stage Management Handbook, and for fun, I read it over again to see if I knew as much as I thought I did! Mostly, I did, but there was one suggestion in there that I had never really considered. This was to copy or print the performance book on reinforced or card quality paper to withstand the constant page-turning. Has anyone tried this? Does it make enough of a difference (I'd think on the long-running shows especially) to justify the time and expense?

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Tools of the Trade / Creating a prompt book in word...using comments for cues

« on: Oct 07, 2005, 08:08 pm »

Wow, Matthew- that's a great system! I'm going to go ahead and steal it if you don't mind. I can't wait till my next show when I can make a really good-looking book. Thanks for the ideas!

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Stage Management: Other / Transferring into Opera

« on: Oct 07, 2005, 08:03 pm »

Make sure you have crackerjack ASMs on the deck for you- their job is also very different from what you'd expect from your ASMs in theatre. If they have opera experience, you're golden, but if they don't, it's going to be really important to get someone who does to let you both know what that job entails.

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Stage Management: Plays & Musicals / new play!

« on: May 21, 2005, 07:16 pm »

Bring your sense of humor to every rehearsal, and know that you are sitting next to a very vulnerable and passionate person, who has the potential to take things as 10 times larger and more important that you do. Keep your cool, and remember that the actors will take their tone and attitude from you for the most part, and if you stay rational, light and flexible, remeberng that we're all here because we love the work, they will tend to as well, and the playwright/director may be more able to roll with the punches, and you get a more creative product.
And, yes, I'm right there with the page numbers. We once got an entirely new opening sequence on the afternoon of the first preview, and we had 3 hours to redesign/reblock/retech/rememorize pages 1f-3g.  If we all hadn't been using the page number/letter system so anally, it would have been chaos. As it was, we had a great time, and even 1/2 hour to spare.

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Stage Management: Plays & Musicals / FOH calls

« on: May 21, 2005, 07:00 pm »

My call at 5:

"Good evening ladies and gentlemen, and welcome to this evening's performance of _____________. It's now five minutes to showtime, and we ask that all cell phones, pagers, and digital watch alrms be turned to their "off" position. If you are unable to do this for any reason, contact one of the house staff, and they will be happy to check your device for you. All recording devices, including digital cameras, are prohibited in the theatre. A reminder that there will be cigarette smoking during th first act of tonight's performance, as well as certified hypoallergenic waterbased fog and haze. Pyrotechnics, strobe lights, and simulated gunshots will also be part of tonight's exciting performance of __________. If you believe these effects will interfere with your enjoyment of tonight's show, please ask any of the ushers to connect you with the house manager, who will do her best to reseat you as comfortably as possible.
Thank you for your attention, and enjoy ______________________. "

It's at that point, incidentally, that I call a "cell phone check" in the booth as well. At the top of the show, I just do the understudy announcements, with a reminder at the end about the cellphones for anyone who came in late. I don't want to have a big seat shuffle going on while I'm trying to start the show. I never really thought about a bad language warning- let the buyer beware, I guess. I have the house staff take care of warning any patrons coming in with young children at the box office and the lobby. Otherwise, patrons who are that sensitive to bad language and loud noises should read the play before they go out to see it!

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SMNetwork Archives / kit

« on: Jan 30, 2005, 08:14 pm »

Floss.
And Listerine strips or Altoid strips. These have replaced my bowl o'mints on the actor comfort tray, since they can pop one in and it dissolves rather than trying to chew an Altoid of their way to stage.

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Stage Management: Plays & Musicals / Cures for bad habits of board ops?

« on: Dec 08, 2004, 10:36 pm »

Thanks for your clarity. I have been thinking along the same lines. I actually do have someone warming up in the dugout just in case- of course, it's not the kind of show that someone can just walk into. These two are folks I have worked with for years with no problems- that's why it will be so difficult to replace them if I need to. I am still hoping that there is something else I can do or tell them that will not only keep them doing this show, but improve their skills (running and coping) overall. Hence, this desperate call for inspiration! I have a curtain with one of them in 25 minutes. Wish me luck....