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Messages - Rebbe

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256
Students and Novice Stage Managers / Re: Actor's Packets
« on: Jul 18, 2006, 10:41 am »
I’d definitely communicate with the production manager and/or company manager to see who usually assembles the actor packets.   Most of the theaters I’ve worked at have the PM or Company Manager put together the bulk of the packet, and the SM just submits the schedule.  You wouldn’t want to step on anyone’s toes, or have the actors get multiple packets with different information in them.   

257
The Hardline / Re: Changing professions
« on: Jul 12, 2006, 01:40 pm »
say I decide to do some acting and I am in AEA as an SM

Keep in mind that AEA doesn’t require you to declare a major, so to speak. 
Joining is joining; you don’t have to check a box saying that you are either an SM, an Actor, or both.  The type of contract you work under makes that differentiation, and defines your responsibilities. 

AEA often uses the word “Actor” in the rulebooks to cover all union members, including SMs (like saying “men” instead of “people”).  But the point is that if you are in AEA, you can’t act or SM for a non-union show. 

Being in Equity would not prevent you from directing shows, whether they are AEA or not, as far as I know. 

258
Interesting…it has been my experience that actors usually want to know what they said wrong.  I don’t stress about writing it down, but usually I catch it and it’s easy enough to do.  Most times the note is simple; for example, if they are supposed to say “orange,” I’ll write the word “apple” with a line through it if that’s what they said.   

259
Tools of the Trade / Re: how essential is a kit?
« on: Jul 07, 2006, 02:56 pm »
I’d say it’s better not to make assumptions about what the theater will provide, so bring your kit for at least the first few days.  When you get familiar with the theater, and have a chance to see what they have onsite, then you can decide whether you want to keep your kit there or bring it home.  I don’t think an SM with a kit would look dorky, but an SM without one may seem unprepared . 

When you’re deciding how much to keep on hand, also think about the set up; is there an SM office, just a desk in the corner, or a storage closet to pull supplies from?  How far is it from the rehearsal space?  It may make sense to keep your kit with you so you don’t need to run down the hall every time you need something….and you can never have too many pencils, post-its, sharpies, hole punchers, or erasers, IMHO

I’ve worked in a mid-sized theater where using my mini-sewing kit was faster and easier than searching the costume shop for a needle and thread.  I’ve also worked for a large theater where we needed four tape measures to tape out the set, but only had two on hand.  Luckily, I was able to pull two more out of my kit. 
 
Personally, I worry least about stocking first aid supplies, since Equity rules require the theater to have them.  If the theater’s first aid kit isn’t in the rehearsal space, I’ll pull some of the basics from it to keep in a baggie wherever we are rehearsing.

260
Uploaded Forms / Re: Line Notes Form
« on: Jul 07, 2006, 09:57 am »
Here is the Word form I use for line notes…I got it from another SM a few years ago and have modified it a bit since then. 

I use a different page for each actor (or each character, if the actor plays two roles), and use the empty box to write down what the actor actually said.   

I find that including "speech starts with" is helpful, especially for actors who don’t have their scripts handy once they’re off book, and remember the lines, but not the page numbers.

261
Students and Novice Stage Managers / How To ASM
« on: Jun 03, 2006, 10:56 am »
I’d echo what everyone else has said about communicating with your SM.  As well as comparing expectations before you start working, it’s helps to take a couple minutes just before or after the each rehearsal to check-in and make sure you’re still on the same page.  If you don’t have the time or privacy to talk, sending a brief email may work too.  Clue them in if you sense or see trouble brewing backstage, and do your best to be a positive presence on behalf of Team SM.  Remember that you are part of a Team, and if you find yourself underutilized, see if someone else is overburdened.  Try to help the team succeed.  

ASMing gives you a great chance to learn how other theaters and SMs operate.  Ask why things are done as they are if you have questions, and at least try the existing systems before you look to change them.  

I’ve found that gossip and kvetching can be a way of life for staff and crew who have been with a theater for a while.  While it’s important to hear what they have to say, you should base your opinions on your own experience more than hearsay.  Keep the drama on the stage, and don’t let other people’s voices drown out your own good instincts.

262
Students and Novice Stage Managers / Plots
« on: Jun 03, 2006, 08:55 am »
I find that filling out paperwork based on the script is a good starting point, and helps you get familiar with the show.   It will tell you what questions you need to ask the rest of the production team, and get you thinking about solutions for potential problems (things like how much water to fill a bottle with so the actors can finish it onstage each night, or how to accomplish the office-to-beach set change with only two crew members…).    

If you’re working on this play as an afterschool activity, how much support will you have from props, costumes, etc?  If the answer is not much, than it’s quite likely a good idea to create your own preliminary plots, especially for props and costumes, so you can pull items for rehearsal.    Ideally, you can talk with the director and designers during preproduction about where they think they’ll be going with the show, and adjust your plots based on their input so they contain the info you need to work efficiently.  Even if you’ll have a lot of help getting your show on it’s feet, it’s good to do your own prepwork in case you pick up on something others haven’t thought about (where can we keep the actor’s offstage bathrobe so she won’t have to walk back to the dressing room naked after the bath scene?).

Understanding what the director wants is an ongoing process; they will probably change their minds a dozen times during the rehearsal process.  But if you both start on the same page, you’ll be ready to adapt with them as the play develops.  

I don’t necessarily plot lighting and sound ahead of time, but I do make notes for myself so I can help the director stay aware of them (you have that actor running SR…the script calls for a blackout here), and stay in communication with the designers.

263
My best teacher “hung up his stopwatch” this year, but I still consider him both a mentor and a friend.  We met when he was PSM for a production that brought me in during tech week as a second ASM.  We went on to work together on 3 more shows and a workshop/staged reading, for two different theater companies.  

What made him great, the important things he taught me, and what I try to pass on to other SMs are all the same, but hard to narrow down to just one: preparation, honesty, confidence, focus, grace under pressure, and positive attitude are all part of it.  Some of these are traits that you can’t learn though anything other than experience.  One skill that can be taught (to the willing!) is accuracy, which goes along with the Never Assume Anything principle.

Don’t give an actor, director, or anyone on the production team, incorrect information.  “I don’t know” is an acceptable answer if it’s followed by “I will find out and tell you.”   It’s better to say “let me check my book/ask the TD/look backstage” than to guess on an answer, and have someone plan around that guess, only to find out later that you were wrong, and time and effort were wasted because of that.  At the very least, you can qualify an answer with “my understanding is that xxxxx, but I will confirm that (later/with the designer).”  

That said, mistakes will be made.  When they happen, don’t try to cover them up, don’t over-apologize, and don’t let the same mistakes happen again.  Explain the situation without adding drama, adjectives, or accusations.

264
One of the theaters I work at has a “policy” that the SM and board-ops need to be IN the booth at ½ hour.  I have never adhered to this policy…party because I did not know it existed until my third show with this theater, when one of their former Resident stage managers mentioned it to me.  I feel strongly that it’s important for the SM to have as much face time with actors as possible during the run.  Being a consistent, positive presence backstage helps me monitor morale, anticipate and address problems that are brewing, and generally project that I am there to lead and support this team.  When I “ascend”  8)  to the booth has to do with how long it takes me to run up there and get settled in.

My question: is it kosher for a producer to dictate where the SM is at half-hour?  What are your thoughts about where the SM should be pre-show?  

In my situation, it’s an equity house, SPT contract, and my shows have had small casts.  There is a good god-mic/backstage monitor set up, and wireless headsets for backstage crew and ASM (generally non-equity).  I have a walkie-talkie to communicate with front of house, regardless of where I am. In the past, this theater has had one Resident Stage Manager who is considered a full-time staff member (does that affect the producers’ ability to make “policy”?), and hired other SMs for particular shows if runs/rehearsals overlap too much.  This year is a little different; I’m one of several SMs, each with her own shows.  All of us have worked there before, but none of us are in residence now.

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