Messages

31

Stage Management: Plays & Musicals / Re: marijuana and theatre (I dont know where to put this)

« on: Jan 14, 2007, 05:56 am »

Yep, unfortunetely I've had the misfortune of having to deal with crew turning up under the influence. One time I particularly remember was when I was the Lighting Designer for a Musical Variety Performance playing in a big theatre. There was a 2pm call the day after we opened to do a few focus notes and the theatre's Chief LX turned up completely smashed - he stank of whiskey and couldn't walk in a straight line. As he was a friend/ colleague I didn't want to report him immediately and thought if I could just get him to go and sit quietly in the crew room until the show where all he'd have to do if op the desk, he wasn't having any of it though and said that he was fine to go and focus FOH. He started getting harnessed up and I had to do something so I radioed the theatre manager who came down immediately. She breatalised him and he was something like 3 times over the legal limit for driving! He was escorted from the premises (unfortunately he didn't go quietly and stage door had to remove him) and was formally suspended until a hearing. It left the show without a Chief Electrician and a friend without a job but I know it was the right thing to do. If I hadn't taken action then he would have definitely caused harm to himself and probably others too.

Sam x

32

Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Jan 07, 2007, 01:36 pm »

For me it depends on my role and what I'll be doing.

As an ASM or SM during the Rehearsal Process I will normally always wear jeans and a nice t-shirt with a jumper. As others have said wearing ripped jeans probably isn't a great idea and wearing crumpled, old crew t-shirts and the like isn't great either. Once I get into the theatre I start wearing blacks (black combats with long sleeved black t-shirt and black steel toe-capped trainers!).

As a DSM in the rehearsal room I like to present myself a lot more formally. This means I will normally wear a pair of jeans or trousers (cords) with a nice shirt (open necked and not normally tucked in!) with a jumper over the top. As for shoes I'll wear nice work shoes (black or brown slip-ons). Once I'm in the theatre I'll wear much the same as the ASMs going more casual! I try to avoid wearing blacks outside of the theatre (i.e. during the rehearsal process) because it is unnecessary, makes me look slightly scary and only helps the sterotype of us being "techies" in black. I also love shopping so wearing nice shirts at work is a good excuse!

Sam x

33

SMNetwork Archives / Re: Merry Christmas All

« on: Dec 29, 2006, 01:05 am »

Hope everyone had a great Christmas and wishing you all a fantastic New Year and 2007.

Sam x

34

Uploaded Forms / Re: Show report

« on: Dec 29, 2006, 01:02 am »

Here's one of mine. Full names and other information hidden for obvious reasons!

Hope it helps,

Sam

35

Students and Novice Stage Managers / Re: DSMs

« on: Dec 28, 2006, 02:27 am »

Ditto what Mac said. As a DSM you look for neither fame nor fortune, if you are after either of those two things then you are definitely on the wrong side of the production desk! As such you won't meet any famous DSMs. You will however find some very well-known (within the industry), respected, renowned DSMs.

I guess you are in the UK (because of the use of the term DSM and your post on another forum I've seen) so I would start looking to speak to DSMs working at the NT (i.e Royal National Theatre), RSC (i.e. Royal Shakespeare Company) and then regionals like Bristol Old Vic, Donmar, Royal Exchange etc. Most of the people who word in these circles are very well known in the industry. Depending on what particular style your looking into however you might also want to have a look at West-End Musicals (Mamma Mia, Lion King, WWRY, Evita, Marry Poppins etc.), Operas (WNO, ENO etc.) or Ballet/ Dance (Rambert, ENB). If you PM me I will be able to forward some names onto you BUT if you feel like finding out some more on your own contact these companies yourself and I'm sure they will not only forward you onto the correct people but they'll also be very helpful!

Sam

36

Students and Novice Stage Managers / Re: Calling/teching your first show, your experiences.

« on: Dec 26, 2006, 11:08 pm »

Equally I don't remember the first time I called a show or my first tech at all really (which is really weird!) but ... I remember the first time I worked on a show. I was an ASM on a Victorian Melodrama in a studio space and it was fantastic! I knew practically nothing about the 'proper way' to do things or what exactly I should be doing, I'd read parts of books about Stage Management but I had NO real experience and I only just learned my Stage Left from my Stage Right! What I do remember was working my ass off and loving every minute on it. I had to do loads of research, make loads of lists/ plots etc. The director was lovely and I went on to work with her for a further two years.

What's funny is to look back on the paper work I did then (which I have kept hold of for years and years) and compare it to what I do now I'm trained/ experienced and obviously know the proper way to do it. It really is very similar, and shows that good Stage Management is based lots of maximum information in the simplest terms or in other words common sense!

This post may make little sense as I'm slightly tipsy (!!) but writing it at least has put a great big smile on my face thinking about my wonderful first theatre experience!

Sam x

37

Stage Management: Plays & Musicals / Re: Too many ASM’s… (who’d have ever thought!)

« on: Dec 14, 2006, 05:44 am »

Could I suggest controversial?...

As I've said before in the UK we do things slightly differently in terms of the Stage Management Team, its tried and tested and works really well. So how about...

Having a SM (you) who's responsibility is to run the Stage Management Team. They look after the Stage Management budget and props budget, Work with the ASMs to prop the show, Liases with the Director and Designer at all times passing on important information and in tech week the SM Runs the Technical Rehearsal with the DSM.

And then a The Deputy Stage Manager (DSM - who could be your the ASM you know already) could run the rehearsal room, create and post rehearsal calls, write and distribute rehearsal reports, look after the director (fetch coffee!) and then in performance can call the show, write Show Reports etc.

Then we also have an ASM (your Directors Friend?) who can prop the show (source and makes props), run errands out of the rehearsal room, attend and run additional rehearsals like Dance and Music Calls (when the DSM is in other rehearsals), create and maintain the props plot and helo the SM run the deck.

If you can afford to have an extra person in the SM team and you can work out a good system then why not, it can only make your life easier!

Sam x

38

Stage Management: Plays & Musicals / Re: Interesting request for performance reports...

« on: Dec 08, 2006, 07:19 pm »

Yep Mine are as other has said:

House Open
Clearance
Act 1 Up
Act One Down
Act Two Up
Act Two Down

Interval Length
Total Running Time (inc. Interval)
Total Playing Time (exc. Interval)

If anything is way out from the norm (like a really late Act One up because of a wait at Box Office or a really long interval because of tech issues then I would add a little note explaining!).

Also in the unlikely event of a show stop I would include timings of that!

Sam x

39

Students and Novice Stage Managers / Re: First Hard Show with Difficult Cast -- Please help

« on: Dec 08, 2006, 12:19 pm »

I agree with what everyone has said and you have my greatest sympathies. For what its worth it sounds like your tackling the situation marvelously!!

One thing that could help for now though; is the director still attending every show and is he always there by the half? If not I would tell the cast (who are obviously hiding behind the directors tardiness) that he's gone now and the show is your responsibility and its your ship. They report to you, they ring you, they keep you in the loop and most of all they never slag you off behind your back. Tell them of they've got a problem with you, and you might as well say you know some of them have because you've heard them talking, then they come to you and tell you! See if this improves things but if not then there is nothing more you can do, sit back grin and bare it and do the minimum required until its over.

Also for what its worth this company sounds like a group of horrible people. In your talk I wouldn't try the sympathy/ upset rouet ("you've really hurt me, do you know what you've done?") I would (like Mac) take the hard-line strictly professional, almost angry aproach! They are behaving like children so treat them like children - thats what I say!

Sam xx (who has unfortunately done quite a few of these speeches before!!)

PS- Eye contact in the speech is also going to be very important. As your talking about each problem just fix your gaze of the pessistent offenders. They'll get the message!

40

Stage Management: Plays & Musicals / Re: Stop The Show!

« on: Dec 08, 2006, 12:04 pm »

Ditto what Mac said... There are too many variables of what can happen to practice Show Stops with the company. Depending on what type of theatre it is you can normally bring in the tabs and deal with the actors in privacy behind them but if this is not possible (studio theatre situation) my preferred method is to send and ASM onto the stage and just ask the company to clear to their dressing rooms! In some west-end shows Show Stops happen a few times each month (lion king and chitty were the big Culprits !) this is normally because of Automation!! When automation is involved however Casts normally have rehearsed what to do when the tabs fall because it could prove dangerous if they didn't. Normally (depending on the state of automation) this just involves clearing the stage!!

I would then do a relay announcement backstage along the lines of "Ladies and Gentlemen of the "Name of Show" Company. This evenings performance has been temporarily suspended due to [problem here - might be watered down a bit if necessary e.g. a technical problem!  ]. [Any Special Instructions e.g. Stay in your dressing rooms until further notice]

My FOH announcement would be something like "Ladies and Gentlemen it has become necessary to temporarily suspend this evenings performance. Thank You for your patience and we will return to the performance as soon as possible. Thank You".

Sam x

41

Stage Management: Plays & Musicals / Re: Reports - Getting actors to read them (from Tools of the Trade)

« on: Dec 06, 2006, 07:51 am »

Ditto all the problems of people not reading rehearsal reports (or show reports).

Follow-up is always good I think, if possible in person or on the telephone. Often in my notes for things that would just take to long to explain (for example sourcing two real double decker buses - that was a real note!) I'd just put something like "1. Direction have asked that we look into the hiring of two real double decker busses. Please contact Mr.... for more details" - substituting Mr.... for either my or my ASMs name! Usually I'll get a call by the end of the next days rehearsal but if not I'd ring the department concerned myself.

I also have had problems with people reading Show Reports. On one show night after night I was getting LX OP errors, he'd either just GO on his own accord or not hear me or GO to early on snap cues because he thought he was right - even though I was calling the shows clean!! I kept show reporting him and emailing it off to the Chief LX everynight! I assumed that eventually the Chief LX would see the amount of errors he was making and either have a word (I already had) or move him to Onstage LX and get someone else to board op. After two weeks when nothings been done I approached the Chief LX about it myself. Turns out he hadn't even been reading them, he said "well whats the point...it's all going fine isn't it!!" I was irate and told him that I hadn't made the reports each night after a busy show for my own sake and perhaps he should have a look over them. He did and the next night ... a new LX Op! Lovely!

Sam x

42

Employment / Re: Hiring and references

« on: Nov 29, 2006, 05:27 pm »

On my resume I list five references. All of these people have agreed to be referees for me and I know them reasonably well in professional circumstances however I am fairly sure that none of them would want me to put their phone number on my CV. This is for two reasons, firstly they are a mix of very successful professionals; one is a famous writer/director, another is a very successful Lighting Designer etc. and secondly my CV is on the web so in the public domain, if you google them personally you will only ever find agents contact details. Therefore on my CV I have put please contact me for contact details of referees. Is this OK or would this aggravate/ annoy you as an employer? Am I being too weary with there contact details??

Sam x

43

Stage Management: Plays & Musicals / Re: Warm-up/ Games

« on: Nov 29, 2006, 12:11 pm »

Yeah, doing a vocal warm-up before calling a show had never really occurred to me before but I did it on my last show and it really helped. It made sense really! If your calling a busy show (200 cues + type thing) then your practically using your voice for the whole show not to mention that it would probably already be strained from the tech. Doing something like a vocal warm-up also really helped me focus and calm before the show. Here's some that we used, they all improve diction etc.;

Say the following in these different styles; Slowly, Quickly, Emphasizing Continents, Emphasizing vowels etc.
"To sit in solemn silence in a dull, dark dock,
In a pestilential prison, with a life-long lock,
Awaiting the sensation of a short, sharp shock,
From a cheap and chippy chopper on a big black block!
To sit in solemn silence in a dull, dark dock,
In a pestilential prison, with a life-long lock,
Awaiting the sensation of a short, sharp shock,
From a cheap and chippy chopper on a big black block!
A dull, dark dock, a life-long lock,
A short, sharp shock, a big black block!"

Do the Grand Old Duke of York - first time through without saying the work UP or Down at all. The Second Time saying them. Third Time Not etc.
The Grand old Duke of York he had ten thousand men
He marched them up to the top of the hill
And he marched them down again.
When they were up, they were up
And when they were down, they were down
And when they were only halfway up
They were neither up nor down.

Say these slowly but being careful to pronounce all the vowels and continents fully;
Thoughtful thinkers think things through.
An awed audience applauded Claude.
There's your cue, the curfew is due.
Boots and shoes lose newness soon.[/i - there's a whole list of these on the web somewhere!

44

Stage Management: Plays & Musicals / Re: Warm-up/ Games

« on: Nov 29, 2006, 10:26 am »

In the UK, so not sure if its different over the pond, I have only done one or two professional shows that haven't done warm-up "games" in at least the first week of rehearsals when there have been full company calls! The rest all have. By games, which may be the wrong word, I mean doing physical activities/ vocal warm-ups etc. etc. As for before performances the same applies, most companies I have ever worked with have come together before the half (with the dance captain, resident director or whoever the assigned 'leader' may be) and done a warm-up of some variety be it fun/ vocal or physical.

For Dance Rehearsals there are often physical/ sports warm-ups, I never take part in these! No need as I won't be the one dancing 

Sam x

45

Students and Novice Stage Managers / Re: Musicals Vs. Straight Plays

« on: Nov 29, 2006, 08:59 am »

Bit late but I'll chuck in my thoughts about calling a musical!

The most important thing to me is to get a copy of the "Reduced Piano Score". This is the score the rehearsal pianist will have and it basically contains the vocals and the "general sound of the orchestra" if that makes any sense! Then with a CD of the show listen and follow the score! Depending on how musical you are this will either prove very easy or very hard at first but trust me, by the time tech week comes you will have heard the music so much in rehearsal that you'll be able to follow the score in your sleep!

Next important thing; INSIST on having an MD Monitor so you can see the musical director conducting. Without it calling LX Qs will be next to impossible no matter how well you know the score! This because you will find the Lighting Designer is likely to put most of the cues on Button, Holds & Downbeats/ Upbeats! You can only preempt these if you can clearly see the MD! The need for good foldback is also important, just ask the sound boys to send you whatever going out front, thats normally the best feed.

Now to talk about my favorite rehearsal; The Sitzprobe or Balance (is this just a UK term, I'm not sure?). This is where the whole orchestra are assembled together with the company and you work through each musical number (just singing - no dancing or acting!). This rehearsal will always be led by the MD so it provides you with the perfect chance to sit next to the Lighting Designer and for him to finalize Cue positions with you as he listens! You can also practice following the score to the live orchestra.

As for cueing the MD, most I know will only ever want a cue-light at the top of act one and the top of act two. Normally the start of a show will go something like this; You get clearance and so send the MD on. He will then tap his baton for silence and the Oboist  will play and 'A'. The whole orchestra will then tune to 'A', after you can hear that everyones ready you are good to give a Green to the MD and start the show! As for calling the orchestra and MD the way I normally do it (again the standard here in the UK) is with the beginners call do "and ladies and gentlemen of the orchestra & Mr. MDs Name to the pit please. Ladies and Gentlemen of the Orchestra and Mr. MDs Name to the pit please. Thank You".

Just a few tips I've picked up from DSMing musicals. Calling from score is a real art, in my opinion, is hard to explain in words but if you've got any further specific questions don't hesitate!

Sam x