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Messages - jspeaker

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A former artitic director here in DC was once in a really bad production of "Murder In The Cathedral" in NYC.  It was produced
in an old church.  He said that they all knew it was bad... the kind of bad where you would rather tell your friends you were

Opening night he was mortified to find out a friend of his was there.  At the party after the show he avoided his friend as long
as he could.  Finally it was unavoidable.  His friend greeted him and shook his head for an uncomfortably long time then just
looked at him and said, "Nice church!"

In rehearsals we all used "Nice church" for when something didnt go well or an actor tried something in rehearsal that didnt

Guys and Dolls, Little Shop, Forever Plaid- Twice each
A Funny Thing Happened on the Way to the Forum- Three times...

Tools of the Trade / Re: Oops! I didn't mean to send that.
« on: Mar 27, 2009, 08:29 pm »

My biggest one was when I was in rehearsal for Pacific Overtures and performing The Clandestine Marriage.  My subject line was "Tuesday in Japan" for the PO Reports.  Yep... I sent the PO Report to both groups.  The Clandestine Marriage producer replied and said "Sounds great!  How was England on Tuesday??"

It happens and is embarrassing. 

Mill Mountain Theatre will be closing its doors this Friday January 23, 2009.  The theatre will complete the run of Driving Miss Daisy with a skeleton staff.  All future auditions and productions are cancelled.

I can only read a play for pleasure if I am NOT doing it.  I tried to read it once then read again and take notes but that has never happened so I just gave up.  Now whenever I sit down to read a script I have my production analysis ready to go.

When do I read it?  As soon as I can.

As for shows I see... yeah I am the worst about that.  I am the worst when a cue is obviously and horribly late.  I actually jumped once and kinda felt bad about it because I was sitting in front of the booth.

Stage Management: Plays & Musicals / Re: Artistic Integrity?
« on: Jan 15, 2009, 02:20 pm »
I am finding, as my career goes on, it's about people I want to work with or not work with - not necessarily the material.


The Hardline / Re: Meal break and scheduling
« on: Jan 05, 2009, 10:17 pm »
I cant say if I have ever had a standard meal break.  Most directors I have worked with try to do the same thing but sometimes you need an extra half hour on something so you bump the meal break.  I am with Ruth... in my world Day to Day is typical.

My monthly schedules are just span of day with "subject to change" ALL OVER IT!!

The Hardline / Re: IATSE house
« on: Dec 16, 2008, 11:13 pm »
Have been in this situation many times and has never been an issue.

I say ask the actor.  Once you get in touch with him explain what is going on and ask him what's the best way to get ahold of him in an emergency.  The truth is he may not realize its an issue or that his voicemail is as full as it is.

Employment / Re: Location, Location, Location!
« on: Nov 23, 2008, 12:32 pm »
I am in Washington DC - lots of theatre in town, but difficult to make a living unless you are in with one of the big, major theatres.

That just depends.  I have made a living in DC for about 7 years and I am out of town about once a season.

Students and Novice Stage Managers / Re: Tech Rehearsal
« on: Oct 02, 2008, 04:15 pm »
I agree with Matthew about 99%

I have had, at the LORT level, designers who give me a cue list heading into tech.  Of course thats never exactly how it ends up and cues are added or cut.

I think cue to cue can be pretty counterproductive.  Many times when you do a cue to cue the LX designer will go back and add cues that could have been added from the start if you teched as Matthew describes.  

I always tell my designers that unless there is a big train wreck onstage I will only ask for a hold when they ask for one.  I don't care if we are in the finale on stage and I can hear that the LD is working on cue 5.  You have to trust the designer to tell you what they need.  There is nothing worse in tech than sitting around waiting for something or someone who doesn't need to be waited for.

A lot of it depends on how your designer works (pre-cueing or cue as you go) and having that discussion before tech.

To say that tech is not about the actors is too broad.  It is about the actors as in the cases that Matthew has pointed out.  I can see where you might mean that it is not about working "moments" for acting values but in my tech if we are in a hold and the designers dont need them to stand somewhere specific I will give the cast and director that time to work as long as they are ready to move on when I am.

Stage Management: Plays & Musicals / Re: NY Cell Number?
« on: Aug 31, 2008, 11:34 pm »
I am keeping my cell phone number simply due to the fact that many people all over the country all ready have it.  I dont think it really makes a difference.

Stage Management: Plays & Musicals / Re: Question For NY SM's
« on: Aug 26, 2008, 01:12 pm »
I agree with all below.  What ever works for you!  I like to be comfortable but also like to dress up... so its usually a little of both!

Students and Novice Stage Managers / Re: Shadowing: General Q&A
« on: Aug 11, 2008, 10:37 pm »
Look me up in DC/NYC area.  If I am calling anything you are more than welcome to trail!


The Hardline / Re: Staged Reading in NY
« on: Jul 27, 2008, 03:00 pm »
Yeah, there arent really any specifics.  Its really just what the demands of the reading are and regulating how many rehearsal hours are allowed.

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