Messages

31

Stage Management: Plays & Musicals / Re: PEOPLE: HELP! The director is taking over my job... :S

« on: Dec 09, 2011, 06:53 pm »

The show I'm SMing currently is being directed by the vice president of the board of directors. I thought things would get better once we opened and they haven't. As much as I hate to admit, I am just letting him do it. He and I have had at least three professional conversations about overstepping (one that included our producer) and they didn't help. He's an actor in the next show I'm the SM on and I want to keep a semi professional relationship with him for the next production.

I don’t see this as something you should “hate to admit.”  Look at it as a fine example of flexibility.  The stage manager should be the ultimate collaborator, and especially in non-union settings, this collaboration may entail letting other people do things that you see as your job.  Because we want to be the best stage managers we can be, it’s natural to worry about things you feel you could do better than the director.  One thing I tend to think about is how permeable the boundaries between our two jobs really are, and there are a whole range of ways for tasks to be divided up effectively. 

I would maybe try to look at the director’s perspective as well, that he is overstepping because it’s easier than explaining what he wants done.  Maybe he’s had bad experiences with SMs in the past and is worried about giving up control.  If you are able to be supportive, and help in whatever ways he will accept, you may find this builds trust between you and he will be more open to sharing the load with you in the future. 

32

Students and Novice Stage Managers / Re: Observational Awareness Training?

« on: Dec 09, 2011, 06:18 pm »

Think about what kinds of things you do remember, and figure out what it is that makes them memorable for you personally.  For instance, I find that writing things down helps me remember them; I may never look at the note again, but somehow the process is writing it down solidifies it in my memory.  You could make more extensive notes about props and set pieces, or even take pictures and put them near your calling station for quick reference during or after shows.  You can’t track lights and sound in quite that fashion, but if you can reassure yourself about other elements, you may have more brain power left to focus those details instead of trying to take in everything. 

A final thing to keep in mind is that mistakes are part of the learning process.  Once you realize something can be off or is off, you will become more accustomed to checking it in the future.   Once you’ve been stage managing for a while, these little things will become ingrained and easier to accomplish all at once.  It’s like driving; when you first get behind the wheel you have no idea how to watch the signs and the road and the pedestrians all at once, but with practice it gets easier.

33

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: No one Cares!

« on: Nov 18, 2011, 06:38 pm »

I can see how this production has made you feel disrespected and exasperated.  At the same time, from the outside this looks like it is not about you (personally) or you (the stage manager); it is about what the members of the production team are choosing to do.  Their expectations for what they should be doing are apparently different from yours, which is not necessarily the same as them not respecting you or your job.  How does it help you to assume they disrespect you, or to dwell on the fact that they do?    I would think it just increases your feelings of anger and frustration.  I know it’s easier to say than do, but I would try to find your joy in the production wherever you can.  It may not save the show, but it will save your emotional energy.  Remind yourself that the responsibility for the success of the production does not rest solely on your shoulders.   You cannot get your team to pull their act together if they don’t want to, but you can foster an atmosphere of open communication, respect, and positivity as everyone struggles to do the best they can in the time remaining.  It sounds like you already feel the cast is on your side, and they will need your support in dealing with the anxiety and change of Tech, especially if the rest of the team is unorganized.  Some shows come together beautifully at the last minute; yours could still be one of those. 

34

Stage Management: Plays & Musicals / Re: Designer Cue Lists

« on: Oct 06, 2011, 03:50 pm »

I’ve never had a designer send Qs to me in an electronic script, but have occasionally had them loan me their script with hand-written in Qs to copy.  For me personally, I find that easier and more error proof than entering cues from a list, and having it in digital format would only help that.  What are your concerns with this method?  I would not assume the designers are asking you to call from their scripts, if that's the concern.  Although it might waste some paper, I would print out the designers’ scripts, and write their cues into my script going page-by-page. 

35

The Hardline / Re: AEA MAternity Leave

« on: Aug 24, 2011, 11:34 pm »

I think this is an interesting discussion to have.  As a female AEA member, I wouldn’t put maternity leave at the top of my priority list.  I’d be more interested in programs/rule book language to support retirement funds or greater health benefits.  I feel like kids are a choice that may or may not fit with a particular thespian’s lifestyle, while everyone deserves health care, and a way to support themselves in old age.  I’m also not sure I believe that all or even most jobs have generous maternity leave policies, so we’re hardly at the back of the pack as an industry.  Having children as an SM, especially freelance, entails challenges far beyond maternity leave, for men as well as women parents (sick kids, sleepless nights, they’re in the school play while you work, your partner feels like a single parent….)  In a strange way, maybe having this barrier of no maternity/paternity allowance makes people think through their choices more deeply.  I worry that this makes me sound like a backwards anti-feminist, which I’m not.  I think stage management is a demanding job that entails trade-offs.  Not wanting to put family on the back-burner is one of the reasons I’m transitioning out of theater…which is a choice everyone is free to make (perphas temporarily) if the personal cost is too high.   

36

Stage Management: Plays & Musicals / Re: REHEARSALS: Taking-Over During Rehearsals

« on: Jul 21, 2011, 07:41 pm »

Here are a couple other threads that deal with take-overs, and may have some helpful advice. 
http://smnetwork.org/forum/index.php/topic,4246.msg26164.html#msg26164
http://smnetwork.org/forum/index.php/topic,1491.msg8790.html#msg8790

I’d caution against assuming the director is “difficult” just because the SM left the show.  They may have had their own personal reasons for leaving.  If you have worked with the director before and characterize her as difficult yourself, I guess that’s another story.  But it’s often the case that different personalities just mesh better than others. 

Basically avoiding assumptions of any kind, and instead asking lots of questions of those already involved with the show, will probably serve you well.  Talk with the director about how the current show matches up with his staging of the version you worked on together.  Find out what the director’s expectations are for you; they may be pretty reasonable and anticipate a learning curve as you get to know the show.  It’s no secret that you are new, so don’t be shy about asking actors or production staff what they have been doing.  People are usually willing to help the New Kid, especially since it means you’ll be in a better position to help them.  Humility and humor will go a long way, as will admitting and correcting any mistakes you are bound to make.

As far as the other person’s notes, I’d go ahead and try to contact the first SM to see if they will explain things to you.  Just because they left the show doesn’t mean they would want to leave the new SM (or cast) hanging. 

 One thing I would try to do to build relationships is to learn people’s names and faces before I get to rehearsal.  Between facebook, headshots, and some deductive reasoning, it’s not too hard to do, and I find it makes people feel like you care and have put in some preparation when you can address them by name.  Plus it’s easier to catch on when you know who is who. 

37

Stage Management: Plays & Musicals / Re: RUNNING: Giving notes to difficult actors

« on: Jul 18, 2011, 09:34 pm »

It seems like you’re doing the best you can, so I second loebtmc in saying don’t take it personally, even though it’s frustrating and difficult not to.  This seems to be more about the actors own perspective and issues, and you are just the messenger.  I’d lean away from the “strict” solution, maybe because that’s just not my personal style.  A technique I would try to use is reflective listening.  So when he gets defensive you would paraphrase what he’s saying back to him, using feeling words “it sounds like you’re unhappy that I’m making this note,” to ensure that he feels heard and try to diffuse the tension rather than arguing/defending your own position as being empowered to give notes.     

I wonder if there is a way to get some positive peer pressure going?  If the actor won’t take notes from the director or SM, would he listen to a fellow actor saying “hey, when the lines stray from the script, I get a little lost, and I’m worried that will throw you off/be bad for the performance.”  You’d need to tread very carefully in finding an ally in the cast who could do this without causing more problems.  In an AEA setting the deputy is sometimes a good choice for this.   

38

The Green Room / Re: gaining new perspective

« on: Jun 27, 2011, 11:57 pm »

Last year I SM’ed for a small dance company.  I got to sweep the stage, run lights and sound, and even help with load-in for the first time in a while.  It was a good refresher on what it’s like to get hand-on with those tasks, and to work solo.  The other great part was how self-sufficient the dancers were, and how genuinely thankful they were for even the smallest help I gave them (I was only there for the run, they’d been on their own for rehearsals).  The experience reminded me both of what I value about being an Equity member, and of how cool it is when no one stands on ceremony of what “their job” is, instead everyone helps out in any way they can. 

39

Stage Management: Plays & Musicals / Re: Harmful line-throughs?

« on: Jun 27, 2011, 07:39 pm »

If you work in this theater again, what about opening the house at 25 or 20 minutes before curtain, instead of at half-hour?  I think it is important to have face time with the actors at every show, and thirty minutes is usually more time than is really needed to get the audience seated.   Just explain to the house managers that you need to personally make sure all the actors are present, make announcements, and give the half-hour call, before you let them open the house. 

Aside from reporting on technical issues, audience response, etc - a performance report reports on the performance as a whole. I consider my reports to be "what was different from Opening." If everything on show 10 runs just like show 1, then I consider it to be a good show. If suddenly on show 6 actors are adlibbing like crazy, jumping major sections of dialogue that affects a cue sequence, or someone ads a bit of silly gesture/dance to a scene that was never there on show 1, it goes into the report - because it is different from what was set on Opening by the director. I may not break down into the report each individual adlib/line multilation, but I will comment on the Scene/Page and give a rough explanation of what happened.   Minor line drops/rephrasing are a given, as long as the original intent of the script is still relayed it doesn't go in the report

My approach is similar to what BayAreaSM describes here.  During the run of the show, I usually circle or note lightly in pencil in my script the first time I hear a line flub.  If the error is repeated, I make written note and put it on their dressing station for review before the next show (or hand it to the actor if I catch them). 

My thought on your director's response is that he might have been concerned about throwing the actors off at the end of the run by suddenly having you give line notes, and would not have had a problem with it if you had been doing it throughout the run.  He may have asked you to have them stop the line-throughs to control the damage of them rehearsing the lines incorrectly any more.  I usually see actors doing line-throughs pre-show if they’ve had a few nights off, but can be over-used as loebtmc said, and are not helpful if they are drilling the lines without being stopped at mistakes. 

Another thing to keep in mind is that the idea of “tattling” does not apply here; everyone in a production is on the same team, and needs to work together for the good of the whole show.  Production staff are used to seeing acting notes in reports, so you don’t need to feel weird about that (although I agree that cast should not be part of the report distribution list).     

40

The Green Room / Re: Future

« on: Jun 10, 2011, 09:27 am »

I’d agree that I don’t think you would be able to manage two careers if they are theater and law, but if it makes you happy to explore theater more while in the relative safety of undergrad, I say go for it.  Better not to have regrets about what you might have done, and you may never have that freedom to play and learn again.   If you do get established in a legal career, you may have the flexibility to engage as theater as a hobby later in life if that’s something you still enjoy. 

I also see a theater background giving you some transferable skills for the legal field.  Lawyer’s need to be detail-oriented, work well under pressure, think of creative approaches for their clients, and “perform” before a judge and jury.  In theater you learn how to do those things, which could give you a step up on other students who are great book-learners but not as strong in putting it bringing it all together in a real world setting. 

41

Tools of the Trade / Re: Cleaning out an Office - what to do with all that STUFF?!

« on: Jun 04, 2011, 07:29 am »

Here is a thread about How Long to Keep Old Prompt Books that might also be helpful:  http://smnetwork.org/forum/index.php/topic,5861.0.html.  There are lots of ideas there about going digital to save space.

I’ve always been a freelancer, and kept very little beyond my kit, which is a medium sized tackle box.  I tend to feel that if it is needed for the show,  the producers/theater need to buy it.  If it is something I personally prefer, such as a certain brand of notebook or heavy-duty hole punch, I’ll buy it as needed.  It surprises me that you would have all those coffee supplies and Pilates ball; I can see the value in them, yet it seems like if SMs keep bringing their own the company has no incentive to buy them.  I don’t subscribe to the idea that a good stage manager has everything one could possibly imagine needing readily at hand…maybe if we made higher wages I would change my mind on that, but I just don't see it as practical or cost-effective; your value is in your skills not your stuff.

My process is to think about whether the value of having a particular item always available to me was worth the expense of purchasing it and the hassle of toting it around to different theaters, and possibly needing to pack it up each night.  Things like extension cords and legal pads, even labels and gaff tape, I can anticipate needing and pull or order them through the theater during prep week.  If I’m without something during rehearsals or the show, I can buy it, get reimbursed, and leave it with the theater when we close so I’m not covering the bill or storing it at home.  There are a wide range of things that directors or actors might think they “need” immediately, when it is really more of a “want” that can be addressed within a day or so. 

42

Employment / Re: Civilian Jobs?

« on: May 09, 2011, 10:52 pm »

My civilian job experience is kind of backwards.  I was a double major in broadcasting and theater, and worked in radio for a two years right out of college before I started dabbling in theater, remembered I loved it, and ended up making a career as an Equity SM.  I continued to work in radio as a freelancer as time allowed, and it has provided some important financial cushioning for those between-shows-times.  So I would second Stagebear about broadcasting or mass communications as a Plan B.  Choosing a field with equally strange hours to theater, and that pulls on the problem-solving and organization skills of an SM would probably be a good fit. 

I can also relate to nick_tochelli, as I am also transitioning out of theater via grad school.  For me it’s a matter of being tired of the lifestyle, combined with wanting new challenges, and a career that is doing something positive for society.  In that spirit, I’d say that the “helping professions,” things like social work (my choice), nursing, counseling, etc, can be another avenue for using the people skills acquired as an SM.  While it’s true you have to convince folks that your prior experience is, indeed, transferable, but that has not been as hard as I had expected.  Plus, I ended up being picked for an interview because the decision-maker had been a theater major…so you never know when taking the long road will turn out to be in your favor! 

Hey, SMs are wired to have a Plan B, C, and D.  The trick is to know when to make Plan A your top priority, even if it means Plan B & Company need to fall off your radar for a while.   

43

Stage Management: Plays & Musicals / Re: FORMS: shows with lots of props

« on: Apr 28, 2011, 06:24 pm »

I don’t recall changing my forms for a larger number of props, its more about the procedures.  If anything it is even more crucial that everything is documented and a system of double-checking is in place, because you can’t rely on memory for 200 items.  My best advice is to rely on systems that have been successful for you in the past, adapting them as the specific situation demands.  For me, that means all the props that need checking are on someone’s pre-show list, and they are on the run sheet in instances where a crew member is involved in doing something with them during the course of the show (handoffs, resets, whatever).  I start making these lists as blocking begins.  I only use a Prop List in early rehearsals to track whether we have the actual prop from the designers or not. 

I do often use a scene-by-scene in rehearsal, as well, the way Megf describes.  I'd build on her idea by figuring out what props are set-dressing type props that won’t need to be set on a daily basis (lamps, rugs, books on shelves, etc).   It's worth talking with the designers about how they can be creative in securing props to the set, or to each other, if that’s helpful for running the show. 

Another idea to think about is taking photos for reference on complicated pre-sets.  This worked well for a show with an  intricately stacked pile of chairs, and we had three assistants each responsible for a certain section of the “formation”.   Photos can be too much trouble to take, update, and flip through with props that are easy to identify and set properly, so just don't make your life harder doing this.

Loebtmc’s suggestion of using your crew creatively, drafting in everyone from board ops to dressers, is crucial if staffing is a concern.  I’ve worked on some pretty intense intermission shifts that seemed impossible at first but became manageable with practice and extra hands from the booth.  Costume crew can become responsible for personal props or costume-props that come out of pockets or are naturally acquired in the dressing room (umbrellas, money).  I’d also look out for items that are a lower priority, and can be checked (and efficiently corrected if needed) after the show has started, or as an actor comes to standby at the stage for the show.  I’ve had shows where I ask the ASM over headset “does Actor X have Prop Y in left hand?” for an especially elusive element.  Another idea that's worked for me is to check that a number of props for post-intermission are just all in one spot, then have an intermission check-list for moving them onto a prop table or other convenient position.

44

The Hardline / Re: Rehearsal Shoes

« on: Apr 12, 2011, 07:39 pm »

I have often had actors request or be provided with rehearsal shoes for SPT non-musicals.  For some it helps them get into character.  For others they want to figure out if the shoes will effect their blocking (someone in 3 inch heels moves differently that in sandals).  I would contact the costume designer and see if they have the show shoes available for you yet, or could give you a similar style, in terms of height and heaviness if not color or fashion.   

The rulebook does not seem to specify when this shoe rule is in effect, but since it says they will be provided, I read that to mean it’s for the production, not just for the performance.    Whether all or only one actor makes this request shouldn’t impact whether they are provided for those who want or need them.  Sometimes I’ve had to tell an actor we are not yet sure about the shoes, or the designer does not have anything similar at this time.  In those cases it may help to ensure the shoes will be available by first tech so they have stage time with them.  I’ve also had actors bring in a pair of their own that is similar to the proposed show shoe, and leave them in rehearsals to use.

45

The Green Room / Re: How to recover from mistakes

« on: Apr 11, 2011, 09:10 pm »

One of the mistakes I made which has stayed with me had to do with not giving an actor a pre-show call.  He was warming up onstage, and something about the way I made my rounds that day meant I did not give him a particular call.  It turns out he timed his make-up, costuming, and other aspects of his pre-show routine by that call, so when he heard me give a later one and realized he was behind schedule, he was understandably thrown off and angry.  I let him know I could hold the start of the show if he needed more time, but I think we were able to go on time.  After the show I made a sincere personal apology to him, which he accepted gracefully, and assured him I would adjust my pre-show to make sure this didn’t happen again.

 Part of my “recovery” was to adjust my pre-show checklist to remind me to make calls in different areas.  I would suggest that making yourself a post-show checklist including whatever it was you missed, and physically putting a checklist by everything each night, could be a practical side of your recovery too.  However big you think your screw-up was, you can gain some perspective from the fact that someone caught it, which, mortification aside, is the purpose of the double-checks we have in place as SMs.  So the system worked.  Also, it doesn’t sound like anyone was harmed by the error, and you learned from it, so its ok to cut yourself some slack.  Sometimes it helps to remember we are watching big kids play dress-up for a living.