31
Stage Management: Plays & Musicals / Sound Manipulation
« on: May 17, 2005, 10:33 pm »
Are you trying to change the sound quality of their voices, or change the location from which the sound emanates? What is the desired effect?
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32
Stage Management: Plays & Musicals / Intro's and Question's :)
« on: May 02, 2005, 11:13 pm »
Regarding your original question:
I did a lot of talent shows and variety shows in the high school where I taught. These were usually put together by other organizations and the theatre department provided the technical support ( i.e., the SM, ASM, running crew, lighting and audio). My SMs were mature students, usually veterans of the department, and had at a minimum already SMed a musical.
Generally, I found it very useful to sit down with the head of the project (I'll use the term "director" for ease of typing) in advance and explain the SM's role to him or her, emphasizing that the SM, although a student, had absolute authority backstage, including the authority (1) to remove any performer from the show if that individual became problematic onstage or backstage, and (2) to change the order of the show if technical difficulties required it. This was a no-bargaining point for me if the director wanted any tech support. The director was responsible for emphasizing to the performers. That way, when I met with them, it was reiteration and not new information.
Another thing that was enormously helpful was technical needs forms. I created a form which the performers had to fill out in advance that gathered all the information I would need about each performance--from the track number on the CD accompaniment, to the number of electical outlets needed, to a description fo the action that was going to occur during the act). Since most people have no clue what it takes to pull off a successful variety show, this accomplished several things:
(1) It forced the performers to make decisions about what they were going to do and commit to their decisions in writing. This also had the effect of assuring the performers that we wanted their performances to be successful, while at the same time further establishing us as the authority as the ones running the show.
(2) It let the performers know the limitations within which they had to work--a max of three wireless handheld mics, for example.
(3) It gave us an advanced heads-up on potential technical problems (stage lights in the baton-twirlers eyes), safety issues ("No, you may not throw a bucket of water on stage or scatter confetti on the stage right before the next dance routine!"), difficult shifts (striking the scenery from the skit while simultaneously setting up for the 6-piece band--in 20 seconds), etc.
(4) It heped us have sufficient equipment on hand and pre-arrange the order of the events in the show with the director to maintain the aesthetics of the show without creating impossible shifts or long delays between acts.
If they are not well organized IN ADVANCE, rehearsals for variety shows inevitably become ridiculously long and frustrating, and can get out of hand very quickly. But if you do your job well up front, you will earn enormous respect from the director and the performers when they realize that their show looked polished and professional because of you and your efforts.
A final note, although it may seem pedantic: You must have excellent headset communication among your crew members to do this kind of show. There are often lots of spontaneous decisions to be made and everyone has to be on board to execute them smoothly.
I did a lot of talent shows and variety shows in the high school where I taught. These were usually put together by other organizations and the theatre department provided the technical support ( i.e., the SM, ASM, running crew, lighting and audio). My SMs were mature students, usually veterans of the department, and had at a minimum already SMed a musical.
Generally, I found it very useful to sit down with the head of the project (I'll use the term "director" for ease of typing) in advance and explain the SM's role to him or her, emphasizing that the SM, although a student, had absolute authority backstage, including the authority (1) to remove any performer from the show if that individual became problematic onstage or backstage, and (2) to change the order of the show if technical difficulties required it. This was a no-bargaining point for me if the director wanted any tech support. The director was responsible for emphasizing to the performers. That way, when I met with them, it was reiteration and not new information.
Another thing that was enormously helpful was technical needs forms. I created a form which the performers had to fill out in advance that gathered all the information I would need about each performance--from the track number on the CD accompaniment, to the number of electical outlets needed, to a description fo the action that was going to occur during the act). Since most people have no clue what it takes to pull off a successful variety show, this accomplished several things:
(1) It forced the performers to make decisions about what they were going to do and commit to their decisions in writing. This also had the effect of assuring the performers that we wanted their performances to be successful, while at the same time further establishing us as the authority as the ones running the show.
(2) It let the performers know the limitations within which they had to work--a max of three wireless handheld mics, for example.
(3) It gave us an advanced heads-up on potential technical problems (stage lights in the baton-twirlers eyes), safety issues ("No, you may not throw a bucket of water on stage or scatter confetti on the stage right before the next dance routine!"), difficult shifts (striking the scenery from the skit while simultaneously setting up for the 6-piece band--in 20 seconds), etc.
(4) It heped us have sufficient equipment on hand and pre-arrange the order of the events in the show with the director to maintain the aesthetics of the show without creating impossible shifts or long delays between acts.
If they are not well organized IN ADVANCE, rehearsals for variety shows inevitably become ridiculously long and frustrating, and can get out of hand very quickly. But if you do your job well up front, you will earn enormous respect from the director and the performers when they realize that their show looked polished and professional because of you and your efforts.
A final note, although it may seem pedantic: You must have excellent headset communication among your crew members to do this kind of show. There are often lots of spontaneous decisions to be made and everyone has to be on board to execute them smoothly.
34
SMNetwork Archives / kit
« on: Feb 14, 2005, 12:49 am »
Suggested Contents for SM Kit
(compiled from various SM books and suggestions from others)
Medical Supplies
aspirin/aspergum, acetaminophen, throat lozenges, throat spray, cough drops, cold tablets, antacid, paraffin wax, eye wash, eye patch, assorted bandages, elastic ACE bandages, instant ice packs, antiseptic cream or spray, isopropyl alcohol, needles, tweezers, cotton swabs, scissors, surgical gauze and tape, latex gloves
Office Supplies
#2 pencils, lg art erasers, pencil sharpener, colored pens, black ballpoint pens, felt tip markers, highlighters, china markers (for lighting gel), label maker, rubber bands, paper clips, glue stick, white-out pen, rubber cement, all-purpose cement, plasti-tak, chalk, Post-it notes, stapler and staples, calculator, 8½ x 11 pads of paper, graph paper, clipboard, company stationery, 3-hole paper punch, hole reinforcements, plastic sheet protectors, 3” x 5” note cards, blank address & package labels, envelopes, scissors, file folders, portable file box, dictionary, ruler, scale rule, project calculator, 30’ tape measures (2), 50’ tape measure, stopwatch/timer, transparent tape, masking tape, script binding brads, thumbtacks, push pins, CD-Rs or diskettes, magnets
Personal Convenience items (food & hygiene)
matches and lighter, disposable cups, disposable eating utensils, paper towels, pre-moistened towlettes, tissues, sugar, sugar sub., salt and pepper packets, tea, coffee, creamer, honey, hot chocolate, bouillon, package soup, eyeglass lens tissues, toothpaste, mouthwash, dental floss, toothpicks, breath mints, candy, soap, bobby pins, ponytail bands, barrettes, clips, etc., safety pins, straight pins, bottle opener, can opener, nail clippers, nail file, saline solution, feminine napkins, postage stamps, room deodorizer, self-amusement toys
Tools
hammer, screwdrivers, pliers w/ wire-cutters, multi-tool, adjustable crescent wrench, safety lanyard for wrench, Allen wrenches, mat knife, razor blades (single-edge), X-acto knife, work gloves, flashlight, small can of oil, chalk line (white chalk only—colored chalks stain things!), tailor’s tape measure, sewing kit w/ black and white thread, bungee cords
Other
working bell and buzzer, small portable work light, whistle, $5 in nickels dimes & quarters, duplicate keys to everything, magnifying glass, spike tape, gaffer’s tape, electrical tape, double-sided tape, glow tape, console tape (artist’s tape) , extension cords, outlet strip, 3-plug "cube tap," ground lift, AC/DC current tester, lighting gel swatch books, telephone extension cord, dust rag, small towel, sturdy string (about 25’), tie line/sash cord, thin gauge wire (floral wire), garbage bags w/ twist ties, heavy-duty zip-lock bags (asst. sizes), padlock, extra batteries, extra pair of eyeglasses, nail polish remover (solvent), personal address book, petty cash envelope, tennis ball (lean against wall and roll on it to relieve back strain), black shoe strings
(compiled from various SM books and suggestions from others)
Medical Supplies
aspirin/aspergum, acetaminophen, throat lozenges, throat spray, cough drops, cold tablets, antacid, paraffin wax, eye wash, eye patch, assorted bandages, elastic ACE bandages, instant ice packs, antiseptic cream or spray, isopropyl alcohol, needles, tweezers, cotton swabs, scissors, surgical gauze and tape, latex gloves
Office Supplies
#2 pencils, lg art erasers, pencil sharpener, colored pens, black ballpoint pens, felt tip markers, highlighters, china markers (for lighting gel), label maker, rubber bands, paper clips, glue stick, white-out pen, rubber cement, all-purpose cement, plasti-tak, chalk, Post-it notes, stapler and staples, calculator, 8½ x 11 pads of paper, graph paper, clipboard, company stationery, 3-hole paper punch, hole reinforcements, plastic sheet protectors, 3” x 5” note cards, blank address & package labels, envelopes, scissors, file folders, portable file box, dictionary, ruler, scale rule, project calculator, 30’ tape measures (2), 50’ tape measure, stopwatch/timer, transparent tape, masking tape, script binding brads, thumbtacks, push pins, CD-Rs or diskettes, magnets
Personal Convenience items (food & hygiene)
matches and lighter, disposable cups, disposable eating utensils, paper towels, pre-moistened towlettes, tissues, sugar, sugar sub., salt and pepper packets, tea, coffee, creamer, honey, hot chocolate, bouillon, package soup, eyeglass lens tissues, toothpaste, mouthwash, dental floss, toothpicks, breath mints, candy, soap, bobby pins, ponytail bands, barrettes, clips, etc., safety pins, straight pins, bottle opener, can opener, nail clippers, nail file, saline solution, feminine napkins, postage stamps, room deodorizer, self-amusement toys
Tools
hammer, screwdrivers, pliers w/ wire-cutters, multi-tool, adjustable crescent wrench, safety lanyard for wrench, Allen wrenches, mat knife, razor blades (single-edge), X-acto knife, work gloves, flashlight, small can of oil, chalk line (white chalk only—colored chalks stain things!), tailor’s tape measure, sewing kit w/ black and white thread, bungee cords
Other
working bell and buzzer, small portable work light, whistle, $5 in nickels dimes & quarters, duplicate keys to everything, magnifying glass, spike tape, gaffer’s tape, electrical tape, double-sided tape, glow tape, console tape (artist’s tape) , extension cords, outlet strip, 3-plug "cube tap," ground lift, AC/DC current tester, lighting gel swatch books, telephone extension cord, dust rag, small towel, sturdy string (about 25’), tie line/sash cord, thin gauge wire (floral wire), garbage bags w/ twist ties, heavy-duty zip-lock bags (asst. sizes), padlock, extra batteries, extra pair of eyeglasses, nail polish remover (solvent), personal address book, petty cash envelope, tennis ball (lean against wall and roll on it to relieve back strain), black shoe strings
35
Stage Management: Plays & Musicals / Costume Change Problem
« on: Feb 14, 2005, 12:12 am »
Depending on your blocking and the distance from the audience:
If you have a good tailor/seamstress, you might consider sewing all the clothes for the costume together to form a uni-garment, and them split it down the back to the waist so that the actor can just step into the garment and have it zipped up the back side. If assistants are standing by backstage, you can have him in out of one costume and into the next in about 10 seconds flat. Works very well if he can cover the zipper with a jacket or something.
If you have a good tailor/seamstress, you might consider sewing all the clothes for the costume together to form a uni-garment, and them split it down the back to the waist so that the actor can just step into the garment and have it zipped up the back side. If assistants are standing by backstage, you can have him in out of one costume and into the next in about 10 seconds flat. Works very well if he can cover the zipper with a jacket or something.
36
Stage Management: Plays & Musicals / how do you get their attention?
« on: Jan 13, 2005, 11:13 pm »
I always have my SM let them know how many minutes their break is, run the stopwatch, and give a one-minute call. If traveling to several areas is required, the SM and ASM usually divide and conquer.
I agree with Benthehack that giving them a definite start time is also useful if there is a clock posted conspicuously that is designated the official rehearsal clock.
I agree with Benthehack that giving them a definite start time is also useful if there is a clock posted conspicuously that is designated the official rehearsal clock.
37
Stage Management: Plays & Musicals / Blocking notation help, anyone?
« on: Jan 08, 2005, 11:17 pm »
Which stopwatch would that be, pray tell? "Tis charity to show."
38
SMNetwork Archives / Calendar programs on PC's
« on: Dec 23, 2004, 08:46 pm »
I do my production calendars in Excel. There are some tricks that you have to know to make your life easier, but it's extremely flexible. If you aren't familiar with it, IM me and I'll help you learn the ropes.
39
Stage Management: Plays & Musicals / Shakespeare and scripts
« on: Dec 23, 2004, 08:32 pm »
BTW, unless you are using different folios, you shouldn't see much difference between printed versions. The different published editions (Riverside, Pelican, Bantam, XYZ...) differ primarily in the footnotes, glossaries, commentaries etc. that they contain.
However, as SM you may want to see if the school will pay to purchase different editions. As a director, I have always had five or six different editions on hand because the insight gained from the different interpretations and paraphrases is invaluable when helping actors to understand and interpret the lines. I always made sure that they were readily accessible in case I wanted something looked up in rehearsal.
However, as SM you may want to see if the school will pay to purchase different editions. As a director, I have always had five or six different editions on hand because the insight gained from the different interpretations and paraphrases is invaluable when helping actors to understand and interpret the lines. I always made sure that they were readily accessible in case I wanted something looked up in rehearsal.
40
Stage Management: Plays & Musicals / Shakespeare and scripts
« on: Dec 23, 2004, 08:19 pm »
I suggest copying an internet version of the text into a Word document and then you can format the size etc. to your liking. If you want to save paper, print out a cast member master copy using the two pages per sheet option. You can print your SM script one page per sheet without affecting the page numbering, and that will give you plenty of room to write stage directions etc. on your copy. As Centaura has astutely pointed out, you definitely want everyone using the same printed version of the text. Hopefully the major cuts will be made before rehearsals begin. You can always scratch lines with pencil later if additional cuts are made in rehearsal.
41
SMNetwork Archives / on the other end of the headset spectrum
« on: Dec 07, 2004, 11:34 pm »
wireless or cabled?
temporary or hard-wired?
temporary or hard-wired?
42
Stage Management: Plays & Musicals / Cures for bad habits of board ops?
« on: Dec 07, 2004, 11:28 pm »
You need to assess whether they can handle the rigors of the show, as well as whether or not you can break someon else in at short notice. Your first obligation is of course to the show so if they truly can't handle it, you may need to look at it honestly and replace them. However, you don't want to alienate people with whom you may want to or have to work with again in the future. Tact is critical. Remember that if a person has been given a job to do for which they are not sufficiently skilled or trained, that is a managerial oversight. Whether you keep them or not, though you need to make sure that they feel supported and not condemned.
If you plan to keep them on the job, you need to make sure that they have every technical support (charts, prep sheets for cues--whatever) that you can afford them. Are there ways to streamline what they have to do? Are the expectations placed on them reasonable given the factors of time, equipment, etc? You need to ask first whether you have done all that you should to facilitate them.
The tantrums are self-indulgent, to be sure, but are probably the only way they know to handle the embarrassment of having screwed up. If they are teachable, then they will warm to your leadership if they feel that you are behind them and trying to help them improve. If they can't find the humility to improve, then you have a hard decision to make, I'm afraid.
If you plan to keep them on the job, you need to make sure that they have every technical support (charts, prep sheets for cues--whatever) that you can afford them. Are there ways to streamline what they have to do? Are the expectations placed on them reasonable given the factors of time, equipment, etc? You need to ask first whether you have done all that you should to facilitate them.
The tantrums are self-indulgent, to be sure, but are probably the only way they know to handle the embarrassment of having screwed up. If they are teachable, then they will warm to your leadership if they feel that you are behind them and trying to help them improve. If they can't find the humility to improve, then you have a hard decision to make, I'm afraid.
43
Stage Management: Plays & Musicals / Drugs, anyone?
« on: Sep 27, 2004, 02:34 am »
Snort any sort of powder SAFELY?
Is the realism worth the risk of having an actor choke on stage in the middle of the performance? Can the action be moved upstage? The audience will forgive well-played pretense sooner than poorly executed realism.
If not, you owe it to the actors to consult a doctor and research any potential damage that the actors could sustain in their throats, nasal passages, etc from inhaling any foreign substance.
Is the realism worth the risk of having an actor choke on stage in the middle of the performance? Can the action be moved upstage? The audience will forgive well-played pretense sooner than poorly executed realism.
If not, you owe it to the actors to consult a doctor and research any potential damage that the actors could sustain in their throats, nasal passages, etc from inhaling any foreign substance.
44
Stage Management: Plays & Musicals / Gunmaster -- any experience?
« on: Aug 28, 2004, 11:26 pm »
We always rent guns for shows, so I don't need permanent storage, but I purchased a small, fireproof safe to store blanks and prop pistols during the runs. It is bolted to the floor in the prop room. It might be a worthwhile investment for your company. When not being used for weapons, it doubles as a storage for opening change and concession money!
45
Stage Management: Plays & Musicals / Copying scripts
« on: Aug 28, 2004, 11:17 pm »
Write or call the publisher and ask for permission. If you're doing a musical, MTI and Tams-Witmark are sometimes a little tense about the issue, but I have occasionally secured permission from them as well. The other major publishing houses WILL allow you to make an SM copy as long as you secure permission from them first. I recommend making a personal phone call and talking to a human being, just to expedite the matter, and then following it up with a letter if needed.