Messages

16

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 09, 2007, 02:14 am »

I do not think it is the SM's responsibility to know how a cue runs - sure, it is good to know what happens,

I think that's true to some extent Mac, but overall I DO think it is the SM/ DSMs (who's calling the show) responsibility to know how the show SHOULD run so they can spot something when it's out. If lettering Sound Qs can help this (just like I note down brief notes on LX in the Prompt Copy) then all the better.

Having said that I think Matthews dead right with the computer thing, so just calling numbers. The last few shows (excluding, oddly, the one I'm doing at the moment) are using computer systems, like SCS and GType, to trigger all the Sound Effects and pre-recorded music! And with the introduction and growing use of widespread Digital Sound Desks, the whole sound plot an become FULLY automated!

Sam x

17

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 08, 2007, 03:05 pm »

None of the Above for me!!
 
In some ways it depends on the operator, I don't really care what we call as long as our cues match-up and communication is clear BUT a favored way seemed to be as follows (for example);
SND Q 1A - To Bring MD1 T1 In
SND Q 1B - Level change
SND Q 1C - Take it Out
SND Q 2A - Bring MD2 T1 In
etc. etc. etc.

That way each Sound/ Piece of Music has its own number but the Ins/Outs/ Level Changes have separate letters.

Seems to work well for me.

Sam x

18

Students and Novice Stage Managers / Re: Help!! A critique from a SM perspective (cirque de soleil)

« on: Feb 07, 2007, 12:48 pm »

Hi Lou,

OK i had a word with him and he offered the following...

There are several 'Resident Stage Managers' but they are not quite as you or me might know them from Theatre! There job is to mainly ensure the 'venue' (think seating, drapes, company office, parking etc.) is adequately arranged. This isn't just a thing for Cirque, this is applicable to all RAH productions.

Cirque does travel with a Stage Manager and a Show Caller. The Stage Manager has more of a 'Production Management' or Company Stage Management role, looking after the artists, scheduling, press calls etc. The Show Caller calls mainly the artists to the stage, artist ent. cues and SOME automation (mainly visual). I also take it they liaise with automation and other departments to call a show stop where necessary. They DON'T call LX or Sound (the operators who tour with the show take there cues themselves). Automation/ Rigging also take many of their clearances and cues themselves. The Show Caller is also monitoring several screens etc. to make sure people are hitting their marks for automation, rigging/ flying sequences are happening correctly, and automation is all going to plan!

The Rigging is a massive task and is conducted by the touring riggers, master carpenter, head of rigging as well as some local riggers. Alegria got in all over Christmas. It started eith a Pre-Rig, putting in points etc. starting many weeks before the show came. Then next all the rigging goes in, followed by the Stage and LX/ Sound.

The parting cross-part of the stage is something I have seen in other Cirque shows and thought was most impressive. I suspect this is called as an 'Auto' or 'Automation' Cue rather than a trap cue. I presume this is a bespoke system designed by Michel Crête (the set designer) and as such there is no actual 'name' for that sort of staging...

If you are looking for more information on individual peoples jobs etc. go to the Cirque du Soleil website here which gives you detailed job descriptions for current vacancices at Cirque.

Indeed as they are a touring show (in fact they are an international touring show!) there are certain limitations on how much wow-factor they can take on the road!

My friend is actually an LX Guy so doesn't know too much about the Stage Management of it all but he says if you have any specific questions then I'll pass them on and he'll find out for you! Also if you want to know anything about LX then he's got all that info.

Hope that helps in some small way!

Sam x

PS - I too really loved the snow. Great Effect!

19

Students and Novice Stage Managers / Re: Help!! A critique from a SM perspective (cirque de soleil)

« on: Feb 07, 2007, 10:33 am »

Hi Lou Lou,

I have a friend who is working on Alegria at the RAH at the moment. I will ask him for some details and post them here! One major consideration I know about is the age of the performers... Most of them are under 16!!

What did you think of the show as a whole by the way? I saw the Dress Rehearsal just before they opened and thought it was 'OK'. I was expecting something a bit more special however after other Cirque shows I had seen in other Countries!

Sam x

20

Stage Management: Plays & Musicals / Re: Tense Director During Tech

« on: Feb 03, 2007, 07:04 pm »

You responded in a fantastic way. Admitting the mistake, telling them you've learned from it and moving on is the perfect response! Unfortunately this won't be good enough for some Director's, but there is really nothing more you can do. Just keep telling yourself that they are under massive amounts of pressure, like you, and they don't mean anything personally. After time you may find it gets easier not to take things personally. I have some of the worst Directors (normally the camp queens or the bitchs!) and I have sort of grown immune to this behavior now.

However I can see it from both sides, as a seasoned Lighting Designer as well as DSM/ ASM, I regularly find myself getting very frustrated at crew and production electricians as a Lighting Designer, when they seem unable to do the simplest things at a reasonable pace! Just over the last few days I've been designing a show and had the worlds SLOWEST focus! But every time I felt frustrated with them though I had to tell myself that they are not intentionally being slow or messing up things - why would they, its only more work for them?!

The Tech process is a high-pressure environment where everyone is extremely stressed, as I'm sure you already know. Some people,. directors, designers etc. can deal with this better than others. Just try to remember nothings personal and this Directors career and artistic integrity is on the line until a good press night, so maybe when shes ratty cut her a little slack...

Everything will seem better after a beer!

Sam x

21

Students and Novice Stage Managers / Re: Guys and Dolls

« on: Jan 30, 2007, 05:03 pm »

Guys and Dolls is a fantastic show, but yes very proppy! Clear Props Lists, Setting Lists, Running Lists etc. will be really important.

1-Our set involves a turntable. How do you tape this out (silly thing I know but vital since lots of set pieces will be 'on top of each other' as the table revolves).?

As others have said the normal way is to tape out the turntable/ revolve in one color and then use lots of other colors (labeled and displayed with a key somewhere prominent in the rehearsal room!) to tape out the various furniture for other scenes.

2-We are also using machine operated moving platforms, what advice can you give?

Yep, as others have also said, the main thing here is safety. What you may have to do is work "clearances' into your book/ cueing. For example automation cue 4 (which could for  be your platform tucking on and turning 90deg) you would warn/ stand-by at which point one of your ASMs or Automation Assistants would go and take position by the truck/ area. Then when you call it you would go something like "Automation Cue 4 clearance" ("CLEAR") "AUTO 4...GO". They can then watch its movements and report back straight to the operator or you if there are any problems. You are also could have e-stop buttons on the prompt desk for automation so make sure you locate them and work out what's what - if applicable, so in an emergancy you know what to do. Likewise a full briefing to cast and crew on what to do if there is a "Show Stop" will be required. Automation is the No.1 (by far) reason for show-stops in the West-End! In-fact most shows only ever stop for automation problems in the west-end.

3-During music rehearsals if I have no paperwork to do, is it ok to...read a book and such?

I find it hard to believe that you will never have anything to do, there's always calls to write up, rehearsal reports to write, blocking to tidy up, and a plethora of other jobs to be done in the book but failing that I would agree it's completely unacceptable to read/ do other things in rehearsals. If there's nothing else to do then just practice following the score, knowing it intimately will be good practice for when your Lighting Designer whats to put a cue on every other upbeat! Also don't forget to listen out for any cuts. The Musical Director can cut repeats, bars or even whole sections just as the Director can cut lines and if this happens and you don't notice you and the LD will be the first to get confused in the tech!

Best of luck, it's a fantastic show!

Sam x

22

Stage Management: Plays & Musicals / Re: First and Last Names

« on: Jan 23, 2007, 02:50 pm »

This is an interesting topic! And one dear to the hearts of many Stage Mangers in the UK... The Old School (Actors and SMs) seem to think that a sense of "theatre etiquette" is being lost whereas the new seem to think of the old fashioned traditions, of using Mr/ Mrs., are fuddy-duddy and pompous! I take a middle ground, leaning slightly more towards the old school if anything, mainly because of my training and the companies I've worked with...

Looking through old rehearsal notes I seem to have developed a sub-conscious system that is consistent throughout all the notes.

• All Directors, MDs, Designer and Creatives I always refer to as Miss, Ms. or Mr. Last-Name (e.g. Mr. Smith). I also use this form for other "dignitaries" like the Artistic Director etc.
• Stage Management & Technical Department personal (including Me & HoDs etc.) I refer to as First Initial & Last Name (e.g. J Smith).
• And for the company I use Mr/ Miss/ Ms First Name & Last Name (e.g. Mr. John Smith). I would NEVER refer to a member of the cast on the a rehearsal or show report soley by their character name just as I wouldn't address them by this in the rehearsal room! I might if it was a costume note for example say "Mr. John Smith (playing the role of Romeo) ...". I was always taught however that it was REALLY rude to refer to actors solely by their character name and this has stuck forever. I also use this form for anyone else I might refer to on my reh. report...

As for actual backstage calls these always take the form of, if its to the whole company; Ladies and Gentlemen of the [SHOW NAME] Company... or if it's for individual actors just the Title & Last Name (e.g. Mr. Smith this is your call please. Mr. Smith your call. Thank You!). If I call the orchestra then its always "MDs Title & Last Name (Mr. Smith) and Ladies and Gentlemen of the Orchestra...".

On call sheets its the same as on Rehearsal Reports e.g. Mr. John Smith or Ms. Joanna Smith... And on the signing-in sheet I'm with Mac, I do "Last Name, First Name" (e.g. Smith, John). On the signing in sheet these would be in Alphabetical Order by Last Name under a header for each department eg. Direction, Design/ Creative, Stage Management, Technical Staff, The Company.

Finally as for Dressing Rooms I always use the Full Name and Title (including Middle Intial if its part of the actors professional name) e.g. Mr. John A Smith.

I'm also equally as anal with lists and calls where ladies must always come first followed by men (all in alphabetical order of course!) Working with some real "Musical Theatre Divas" I've learned the importance of the magical words "its all alphabetical!"

I quite like the formality of traditional theatre but there is a limit, I would never say in the Rehearsal Room "Mr. Smith" or "Ladies and Gentlemen of the Company" (like I would on paperwork or over a backstage call) ... it would be more like "john" and "guys!" !

I hate to say it but perhaps, again, this level of formality is a British thing...

Sam x

23

Employment / Re: Cruise jobs

« on: Jan 21, 2007, 04:28 pm »

Mac, sounds like a pretty nice life once the shows up! Which cruise provider were you with?

Sam x

24

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 21, 2007, 04:19 pm »

To be honest I don't really mind if the notes goes to my ASM or me and likewise I don't mind if an actor asks me a question about set or costume. Whatever happens, on my productions, the person concerned will always talk to the actor. Even for example if an actor comes offstage and says to my ASM "oh can you tell Sam my phone ring was far to late tonight" and then my ASM tells me and I know exactly why etc. I will still go and discus it with the actor and assure them that I'll more carefully watch it or correct them and tell them it was in the wrong place etc. This, I feel, shows that me and my colleagues care! Equally I always try and speak or check in with my company (depending on size) before and after each performance. A good way of doing this I often find is going round the dressing rooms to give the half hour call face to face and then after just sticking your head in each dressing room and saying well done and reminding them again of the next call. This provides ample opportunity for them to grab me and raise any issues with the performance etc.

Whatever I think its always far better that the cast member comes to Me or my ASM about issues than bitching about problems behind our backs (which can often happen) and so situations are never resolved!

Sam x

25

The Hardline / Re: "You're the One that I want" reality show

« on: Jan 20, 2007, 07:38 pm »

Its interesting, in the UK we have already been through all of this with the casting for the new west-end version of The Sound of Music, where BBC 1 (one of if the most watched UK channel) produced a program called "How do you solve a problem like Maria?" to cast the Maria. I'm not sure how much press it got over in the US (if any at all) but it was fairly big over here and prone to some damning criticism and complains from parts of the theatre industry! The judging panel was fairly impressive being chaired by composer and producer Andrew Lloyd Webber assisted by theatre producer David Ian (also a judge on 'The one that I want') and John Barrowman. Ian and Lloyd-Webber co-produced the show.

Our Equity laid down a few ground rules which the show agreed to and these basically said that none of the contestants could be humiliated etc. in the Pop Idol style of Simon Cowell so as not to harm the possible future careers of the entrants. Funnily enough however all of the contestants who ended up being finalists (last seven or something) actually were already actresses or had some sort of formal training from a drama school! The girl who won, Connie Fisher, had trained in Musical Theatre at Mountview Academy of Theatre Arts where she gained a first class BA in Musical Theatre and the girl who came second, Helena Blackman, had trained for two years at Guildhall School of Music and Drama and had worked as a performer for Disney!

A good friend of mine is working on the Sound of Music at the moment and its a fantastic show. Connie is great, she has a great voice, she can dance well and she can also act! I also was ASMing on a show with Helena Blackman just before Christmas and she is equally good and a really nice person! A way had been devised however to ensure the final finalists were of high quality and to allow the public to make the final choice via telephone voting... Each week the two with the lowest votes would be put in front of Lloyd-Webber who could then decide which one to keep! Therefore until the very final show (where ALW had made sure there were two good contestants who would both do fine for the show) all the power wasn't handed over to the voting public at home!

The show received massive advance ticket-sale bookings and is sold-out for months! Its also, been reported, that its got a lot more people going to the theatre (musical theater) and given theatre some more prime-time press in the UK which is never a bad thing! So despite all the criticism and the fact that the actual program was reality-rubbish I think it was a good concept and I'm pleased that in the end a professional/ trained actress was awarded the role, just going to prove the worth of training!

I'm not so sure however about the quick succession of new similar programs. Later this year David Ian and Andrew Lloyd-Webber will go head to head launching to different shows that will be aired at the same time of TV to try and cast the principals in Grease (Your the One that I Want - UK) and a revival of Joseph and His Amazing Technicolored Dream-Coat (Any Dream will Do). The difference being this time that in Your the One that I want they are searching for both the principals and in Any Dream Will Do they are searching for most of the cast including, last time I heard, ensemble!! This could be to the severe determent of the final shows produced because often, I think, skillful performers can carry a bad apple (for example if the Danny they cast was poor) however a whole company cast by the public... Time will only tell how the sequels go-down, on television and on the stage!

Sam x

26

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

« on: Jan 20, 2007, 03:27 pm »

Just another question...

Am currently trying the comment/ reviewing way on MS Word way which is working really well BUT the does anyone know how to change the colour of the comment box so I can use different colors for Standbys and Gos?!

Thanks,

Sam x

27

Employment / Re: Follow Up Thank-You Letters

« on: Jan 20, 2007, 02:22 pm »

Hi Guys,

Thanks for the help! Think I'm in a better writing mood today so I will have a go at redrafting the letter!

In response to ljh007, when I receive payment depends on the type of show! Most of the work I do at the moment, due to other commitments, are short (anywhere from one day to two weeks) gigs which involve either just Show Calling for Showcases/ Festivals/ Corporate Events or props buying for theatre productions. This means that I'm "self employed" (i.e. I'm freelance) and I normally invoice after and receive payment withing a set amount of days (sometimes up to 30!). If it's a three week gig then I might invoice after each week depending on cash-flow and the arrangement with the company! If however its a long-running show or a permanent position (at a producing house for example) then I would be an employee (through the PAYE scheme in the UK) and I would be paid weekly/ monthly by the company on my set wage. These are the standard ways of working/ invoicing in the UK...

Sam x

28

Employment / Follow Up Thank-You Letters

« on: Jan 19, 2007, 05:04 pm »

Hi All,

Just wondering if anyone could help me. Normally after I receive payment for a job thats the end of it. Sometimes I send a friendly email or a drop a telephone to admin to say thank-you for prompt payment and I hope to work with you again soon, depending on how well I know the company, but I've never done anything formal. Well now I have had some nice new corporate stationary made up (letter-heads and buis cards etc.) and I think this is quite a good opportunity to show it off and start putting my new "corperate identity out there" as my marketing friend would say!

So basically I'm looking as part of my invoicing process to now send a little follow-up letter saying thank you the payment has been received and I hope we work together again in the future. The only problem is I can't draft this letter at all!! Everything I write just sounds quite awkward and generally rubbish!

Any help much appreciated! Thanks!

Sam x   

29

SMNetwork Archives / Re: SM photos

« on: Jan 18, 2007, 02:18 am »

I have a picture of me at a prompt desk calling the show! Its sort of from behind but it gives a good view of all the prompt desk controls but its not the best quality ever but I will email it over to you anyway!

Sam

30

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 17, 2007, 02:28 pm »

Here Here! I always call the show by a certain amount of feel!

One of my Stage Management Idols and someone who mentored me when I was learning Stage Management was the one of the original SMs (DSM) on Les Mis. He always taught me that you had to call a show on FEEL! For example he said when he did Les Mis there were the cues that had to be precise, these were cues on the musical button or flying/ deck/ automation cues that would unsafe to call at a "different time" but for every one of these there were several more cues that required him to totally feel the emotion of the actor and the swell of the orchestra etc.! I have tried to follow his advice ever since and always tried to call as much by feel as by anything else!

I think however this is very different from calling a cue early or late! Feeling a cue is more about feeling the movement of the show and making sure the cue goes at the right "emotional point" rather than intentionally calling it a bit early or a bit late because you "feel like it!"!
Example... I once did a show called 'Alice' (Waites/ Wilson) that was a Musical Play about the life of Charles Dodgson and his rather strange relationship with Alice Liddle, the real Alice in Wonderland! There were several parts in this show where our very talented Dogson would just stand somewhere in silence and emote. Through these parts our equally talented Lighting Designer had several cues which were called on for example the build-up of his emotion and then at the peak of his emotion and then another during is anger etc. This would be very different every night and would require all of my energy to read the actor and go with him. By these cues in the book I even at the time wrote in big letters FEEL! The feeling calling it was however amazing  and I felt a lot more involved with the production on an artistic level. I certainly found as well that these cues took a lot more concentration and energy than calling the snap cues, following the score or calling complex deck sequences!

So in summary yes I agree there are some shows where feeling the action and the performance is integral to you calling the show as the director and designers intended, which is ultimately night and night what our aim is!

Sam x