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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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32
Stage Management: Plays & Musicals / PROFESSIONALISM: Personal reasons NOT to do a show?
« on: May 07, 2013, 10:25 pm »
I recently had a student leave a production of The King and I due to religious views (her character repeated "Praise to Buddha" often); I could certainly see her discomfort but also know if theatre is something she wants to pursue she was going to have a difficult road ahead. Just out of curiosity, has anyone ever left or refused to do a show (whether as a SM or not) due to personal conflict with its content, religious or otherwise?
When I was younger and first starting out as a technician, because of my upbringing, I had extreme difficulties with productions that were considered risque (Hair and both Angels in America come to mind) but I knew that that would be something I would have to get over if I were ever to hope to have a career in this field.
When I was younger and first starting out as a technician, because of my upbringing, I had extreme difficulties with productions that were considered risque (Hair and both Angels in America come to mind) but I knew that that would be something I would have to get over if I were ever to hope to have a career in this field.
33
Job Postings / Stage Manager-Lecturer at UNCC (Charlotte, NC)
« on: Mar 20, 2013, 07:05 pm »
Link to job description and application: https://jobs.uncc.edu/applicants/jsp/shared/position/JobDetails_css.jsp?postingId=274409
Primary Duties: The Stage Manager Lecturer plays an important role in the education of performing arts students in the college of Arts and Architecture. This position is responsible for teaching two courses per semester (Introduction to Stage Management and Stage Management Practicum), supervising and mentoring student stage managers, and stage managing (as needed) productions in Theatre, Dance, and Music. The Stage Manager is required to attend production meetings and rehearsals for all assigned productions and is responsible for training and/or supervising running crews and hired stage managers. The Stage Manager Lecturer is a member of the College's Performing Arts Services Design and Production Unit and reports to the Production Manager. This position is a full-time nine-month position offered on a two-year renewable contract basis.
Primary Duties: The Stage Manager Lecturer plays an important role in the education of performing arts students in the college of Arts and Architecture. This position is responsible for teaching two courses per semester (Introduction to Stage Management and Stage Management Practicum), supervising and mentoring student stage managers, and stage managing (as needed) productions in Theatre, Dance, and Music. The Stage Manager is required to attend production meetings and rehearsals for all assigned productions and is responsible for training and/or supervising running crews and hired stage managers. The Stage Manager Lecturer is a member of the College's Performing Arts Services Design and Production Unit and reports to the Production Manager. This position is a full-time nine-month position offered on a two-year renewable contract basis.
34
The Green Room / "I quit!"
« on: Feb 20, 2013, 06:42 pm »
We've all thought it, we've all come to that point where we were thisclose to saying it...but out of curiosity, who has actually done it? What were the circumstances? What was the proverbial final straw?
I've never quit a show persay - I've had to back out before rehearsals started but found them a replacement, and I've had another job come up during the last week of performances but agreed to share my stipend for another replacement...but I've never been to the point where it was so intolerable that I couldn't take it anymore.
I've never quit a show persay - I've had to back out before rehearsals started but found them a replacement, and I've had another job come up during the last week of performances but agreed to share my stipend for another replacement...but I've never been to the point where it was so intolerable that I couldn't take it anymore.
35
Stage Management: Plays & Musicals / RUNNING: Prop/costume responsibility
« on: Feb 09, 2013, 11:17 pm »
This happened tonight, and I thought it would make a good point of discussion since it was a lively topic of debate for me and my crew:
We had a two show day today, and between shows one of the costume crew forgot an important preset: hang 3 clothes on wooden hangers, plus an onstage change dress, also on a hanger. These clothes on hangers touch 2 actors hands and 3 crew members hands (not in that order) before making it onstage.
Tonight however, those clothes weren't on their hangers and the dress was still in the dressing room. A crew member handed off the clothes without hangers, warned the actress she hands them off to, and the actress covered by laying them on the bed. When someone offstage realized the onstage change dress wasn't there, they went to the dressing room, grabbed it, and the actress onstage took it from them - unfortunately with the dress still on the plastic hanger. The actress covered by taking the dress off the plastic hanger and covered it up under the bedsheets.
So, who was at fault? The crew? The actors for not checking their props? Or a combination of the two?
Edit to add topic tag. - Maribeth
We had a two show day today, and between shows one of the costume crew forgot an important preset: hang 3 clothes on wooden hangers, plus an onstage change dress, also on a hanger. These clothes on hangers touch 2 actors hands and 3 crew members hands (not in that order) before making it onstage.
Tonight however, those clothes weren't on their hangers and the dress was still in the dressing room. A crew member handed off the clothes without hangers, warned the actress she hands them off to, and the actress covered by laying them on the bed. When someone offstage realized the onstage change dress wasn't there, they went to the dressing room, grabbed it, and the actress onstage took it from them - unfortunately with the dress still on the plastic hanger. The actress covered by taking the dress off the plastic hanger and covered it up under the bedsheets.
So, who was at fault? The crew? The actors for not checking their props? Or a combination of the two?
Edit to add topic tag. - Maribeth
36
Stage Management: Plays & Musicals / SCENERY: Stair unit transitions
« on: Dec 28, 2012, 01:15 am »
I have an unusual challenge I've been brainstorming that I'd like to share.
I'm working with a scenic design that is comprised of two large staircase units that are both around 12' high, and each unit has two doorways. These staircase units are shifted throughout the performance to place the audience in various locations in this manor. The challenge is, both units are entirely actor driven. The other challenge is, because there are 20 positions in Act 1 alone, the actors need to have a reference of where their unit is positioned next. I can handle an offstage reference just fine, but to cover my bases I really need to have one on each unit as well. Since at several points the audience sees the back of the units, the reference must:
1. Attach to the wall.
2. Lay fairly flat.
3. Be of a decent size (they shouldn't have to squint to see it).
The director has taken pictures of the model in each position, so I have those at my disposal. I originally thought of a booklet that the actors could turn the page and somehow the page they turn would stay put somehow, and just have a piece of duvateen over it that would cover it when not in use. I'm all about K.I.S.S. at this point.
Ideas?
Edit to add topic tag. -Maribeth
I'm working with a scenic design that is comprised of two large staircase units that are both around 12' high, and each unit has two doorways. These staircase units are shifted throughout the performance to place the audience in various locations in this manor. The challenge is, both units are entirely actor driven. The other challenge is, because there are 20 positions in Act 1 alone, the actors need to have a reference of where their unit is positioned next. I can handle an offstage reference just fine, but to cover my bases I really need to have one on each unit as well. Since at several points the audience sees the back of the units, the reference must:
1. Attach to the wall.
2. Lay fairly flat.
3. Be of a decent size (they shouldn't have to squint to see it).
The director has taken pictures of the model in each position, so I have those at my disposal. I originally thought of a booklet that the actors could turn the page and somehow the page they turn would stay put somehow, and just have a piece of duvateen over it that would cover it when not in use. I'm all about K.I.S.S. at this point.
Ideas?
Edit to add topic tag. -Maribeth
37
Stage Management: Other / SM my first awards show
« on: Oct 25, 2012, 07:58 pm »
I have a first coming up in May: the Blumey Awards, a high school performing arts award. I was the ASM for it last year (which was its first year) but I wasn't included in many things that the original SM did. It follows a format close to the Tonys - guests introduce the categories, performances between awards, etc. and it's held in a large venue (about 2,000). I'll be receiving details on dates soon.
It should include many of the same people I worked with last season, many of whom I worked with separately on other shows, so that's helpful. Anyone have any tips for me before going into this?
It should include many of the same people I worked with last season, many of whom I worked with separately on other shows, so that's helpful. Anyone have any tips for me before going into this?
38
The Green Room / Relief from insomnia
« on: Sep 17, 2012, 12:43 am »
It's after midnight and I have the alarm set for 6:30am. I'm a person that has to get a solid 7 hours sleep, but so far I'm failing miserably. This usually happens when something important occurs the next day, good or bad, and my mind just can't slow down long enough to let me catch some z's. I'm terrible when it comes to a nightly routine to wind down, usually because my schedule is diverse day-to-day that I haven't been diligent about following one.
When my husband can't sleep, he swears by warm milk (gross!). I read that lying in bed awake is one of the worst things you can do, so I usually end up in another room of the apartment watching TV. They say the light makes matters worse, but I find that it tends to put focus on something else, and I start feeling groggy enough to try again.
What do you personally do to handle the occasional bout of insomnia?
When my husband can't sleep, he swears by warm milk (gross!). I read that lying in bed awake is one of the worst things you can do, so I usually end up in another room of the apartment watching TV. They say the light makes matters worse, but I find that it tends to put focus on something else, and I start feeling groggy enough to try again.
What do you personally do to handle the occasional bout of insomnia?
39
Employment / Networking prep
« on: Sep 05, 2012, 06:10 pm »
Networking can happen anywhere, we know that. But for large networking purposed events - such as a conference - preparing yourself ahead of time is ideal.
I update my LinkedIn profile, restock my business card stashes (purse, binder, business card holder, etc.) and make sure the information on them doesn't need changing. When packing or planning what to wear, I try to keep professionalism and appropriateness in mind. If there's a person or company I know I will be speaking with, I do whatever research I feel will be helpful in making a good impression. Then first and foremost, I get a good night's rest....and coffee. Really good coffee to start the day!
What do you do to prepare for a networking event? Any oddities or quirks or good luck routine?
I update my LinkedIn profile, restock my business card stashes (purse, binder, business card holder, etc.) and make sure the information on them doesn't need changing. When packing or planning what to wear, I try to keep professionalism and appropriateness in mind. If there's a person or company I know I will be speaking with, I do whatever research I feel will be helpful in making a good impression. Then first and foremost, I get a good night's rest....and coffee. Really good coffee to start the day!
What do you do to prepare for a networking event? Any oddities or quirks or good luck routine?
40
Self-Promotion / The Daily Show at Children's Theatre of Charlotte
« on: Aug 22, 2012, 11:02 am »
At Children's Theatre of Charlotte, we've been preparing our spaces for several months to bring in The Daily Show with John Stewart during the Democratic National Convention (ImaginOn houses the children's library as well as our offices, rehearsal spaces and stages). We're at the heart of uptown, so on top of preparing the season we also have to contend with clearances, street and parking garage closings, checkpoints and security.
It's going to be an amazing experience, but I think we'll be glad when it's over!
http://www.wsoctv.com/news/news/local/imaginon-preps-daily-show-tapings/nRF8r/
It's going to be an amazing experience, but I think we'll be glad when it's over!
http://www.wsoctv.com/news/news/local/imaginon-preps-daily-show-tapings/nRF8r/
41
Employment / SM Typecasts
« on: Aug 06, 2012, 09:22 am »
Matthew brought up a good point in his Self-Promotion thread that I thought was a good topic of discussion. Actors tend to get typecast all the time, but it's true that stage managers get typecast as well. Usually it's out of our control or without intention, though I know SMs that had a focus early on and stuck with it.
I tend to get typecast with straight dramas for some reason. Even though the majority of my training as a PA and ASM was in musicals, I've only ever managed three of them. The only reason I can think of is job referral, since I can connect a director who referred me to another director who referred me to another director...all who were directing straight dramas.
This season though, because my company is still on a PSM/SM search, I've been assigned most of the musicals, starting with Charlie Brown and ending with Pinkalicious (lord help me). I would love to manage a large cast musical and put the early training I received to work. A large cast, in my mind, is over 30 people and it looks like I might get close this season with Secret Garden. I'd also like to try my hand at managing an opera, though I need to brush up on certain skills before I'd seriously consider it.
What kind of SM are you typecast as? Was this on purpose or by coincidence?
What kind of productions would you like to manage instead?
I tend to get typecast with straight dramas for some reason. Even though the majority of my training as a PA and ASM was in musicals, I've only ever managed three of them. The only reason I can think of is job referral, since I can connect a director who referred me to another director who referred me to another director...all who were directing straight dramas.
This season though, because my company is still on a PSM/SM search, I've been assigned most of the musicals, starting with Charlie Brown and ending with Pinkalicious (lord help me). I would love to manage a large cast musical and put the early training I received to work. A large cast, in my mind, is over 30 people and it looks like I might get close this season with Secret Garden. I'd also like to try my hand at managing an opera, though I need to brush up on certain skills before I'd seriously consider it.
What kind of SM are you typecast as? Was this on purpose or by coincidence?
What kind of productions would you like to manage instead?
42
The Green Room / Which line would you take?
« on: Aug 03, 2012, 01:12 pm »
If the world of musical theatre were a subway/tube system....http://zoom.it/oDZp....
What would be your route to work? to home? on vacation?
What would be your route to work? to home? on vacation?
43
The Green Room / ARTICLE: Actors 'struggle to resolve emotional problems'
« on: Jul 18, 2012, 03:44 pm »
Do you find this true?
http://www.guardian.co.uk/stage/2012/jul/18/actors-struggle-resolve-emotional-problems?INTCMP=SRCH
And if you're looking for a laugh, read the comment left by Eisenhorn in the comments section.
http://www.guardian.co.uk/stage/2012/jul/18/actors-struggle-resolve-emotional-problems?INTCMP=SRCH
And if you're looking for a laugh, read the comment left by Eisenhorn in the comments section.
45
The Green Room / One actor's performance divides a community
« on: May 19, 2012, 01:16 pm »
Late last month a reviewer gave a local theatre company what I thought to be a fair review of Measure for Measure: overall a mediocre production with a few shining performances but one huge flaw - the lead wasn't off-book for a good portion of the performance and read his lines from a notebook. The reviewer posted his review online and on Facebook, which included his opinion on how the lead's performance hindered the perception of the production as a whole, the director, the artistic director, and the company. Here's the link to the original article: http://clclt.com/theclog/archives/2012/04/26/theater-review-measure-for-measure#more.
The following morning the comment section under the review blew up. Everyone had an opinion: regular theatre goers, directors, other actors, members of the cast, volunteers, teachers, seasoned professionals, students - it was clear the theatre community was divided. Generally, one camp believed the performance should have been canceled, postponed, or an announcement made prior to the curtain going up stating the situation - the other camp believed the actor and/or company was brave and being risk-takers by going on as planned, in spite of the major problem. I've never seen such a lively or divided discussion among a theatre community - you don't see this kind of debate often played out in real-life, and it's one that I'm thankful to hear local drama and theatre teachers are using as a discussion point with their students.
My poor husband was witness to my exasperation to a few of the comments that, in my opinion, were juvenile and (hate to use this word but it fits) ignorant. One comment stated that people pay to go to performances to support an actor or company, not necessarily to see 'art' or an amazing performance (only if my kid is in it, sorry); another said that the criticism was because the reviewer hates the company (it's called 'critique' for good reason); the artistic director finally came out and said no one who hadn't seen the show had a right to an opinion, that they were viciously attacking the company, and that those who had voiced negative opinions were just waiting for something like this to happen so they could "stick the knife in and twist it." A few other comments included a teacher saying he hoped none of his students saw the performance because it would wipe out everything he had taught them Shakespeare should be. Some even used the situation as a plug to go support only good performances at other theatre companies in town (unfortunately from someone I respected...bad form).
So what do you think - did the company have a right to charge full ticket price without letting the audience in on the actor with script in hand? Should the community have been more supportive of the choice, rather than criticize the outcome? Does criticism raise the bar for theatre companies to do better? What would you have done in that situation?
(BTW, tried posting a link to the page of comments, which were unfortunately all under the Facebook link and not the article link, which didn't seem to work. I wouldn't dream of pasting 51 comments on here, many of which were lengthy.)
The following morning the comment section under the review blew up. Everyone had an opinion: regular theatre goers, directors, other actors, members of the cast, volunteers, teachers, seasoned professionals, students - it was clear the theatre community was divided. Generally, one camp believed the performance should have been canceled, postponed, or an announcement made prior to the curtain going up stating the situation - the other camp believed the actor and/or company was brave and being risk-takers by going on as planned, in spite of the major problem. I've never seen such a lively or divided discussion among a theatre community - you don't see this kind of debate often played out in real-life, and it's one that I'm thankful to hear local drama and theatre teachers are using as a discussion point with their students.
My poor husband was witness to my exasperation to a few of the comments that, in my opinion, were juvenile and (hate to use this word but it fits) ignorant. One comment stated that people pay to go to performances to support an actor or company, not necessarily to see 'art' or an amazing performance (only if my kid is in it, sorry); another said that the criticism was because the reviewer hates the company (it's called 'critique' for good reason); the artistic director finally came out and said no one who hadn't seen the show had a right to an opinion, that they were viciously attacking the company, and that those who had voiced negative opinions were just waiting for something like this to happen so they could "stick the knife in and twist it." A few other comments included a teacher saying he hoped none of his students saw the performance because it would wipe out everything he had taught them Shakespeare should be. Some even used the situation as a plug to go support only good performances at other theatre companies in town (unfortunately from someone I respected...bad form).
So what do you think - did the company have a right to charge full ticket price without letting the audience in on the actor with script in hand? Should the community have been more supportive of the choice, rather than criticize the outcome? Does criticism raise the bar for theatre companies to do better? What would you have done in that situation?
(BTW, tried posting a link to the page of comments, which were unfortunately all under the Facebook link and not the article link, which didn't seem to work. I wouldn't dream of pasting 51 comments on here, many of which were lengthy.)