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Messages - loebtmc

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31
Present this to your producer have them make this decision quickly either you get your proper meal break, then come back and set up, or they pay the meal penalty and you set up in time to start when the actors get back from theirs. Make sure you write down what they say and they agree (I had a producer agree on a meal penalty, then decide they hadn't said so after all).

Of course, doing a run thru immediately after eating might make for an interesting run.......

32
Vernon is, as always, wise. I just had this with some college kids at a student/professional production. My success had two parts: 1) I acknowledged their need to do something while waiting, needing a way to express nerves etc. I suggested that they bring in something quiet like a book and offered them an option  if they are backstage they are quiet, if they must talk, there was a space they could move to; 2) I talked w them about respect, and treating the actors on stage w the respect they'd expect themselves if they were in the lights. I only had to speak with one person after that, and he just spaced.

Give it a try!

33
The Hardline / Re: AEA ELECTIONS VOTE!!!!
« on: Apr 29, 2018, 08:50 pm »
Yes, as mentioned, happy to offer my opinion on folks, and Ruth (as she mentioned)  there are a few others who I assume would be happy to share opinions but will let them volunteer. And again, please do it privately. But feel free to do it! (I, for one, have some strong opinions to share ....)

34
The Hardline / AEA ELECTIONS VOTE!!!!
« on: Apr 28, 2018, 04:05 pm »
It's that time again  our own amazing Ruth E Kramer is running, along with some other folks. Please feel free to ask any of us our thoughts on the candidates running (ideally over PM), but no matter what, please VOTE. This is a really important election (I know, I know, aren't they all)

VOTE!!!
VOTE!!!
VOTE!!!

35
Yes, as Matt said  if you can see the conductor (live or on camera), try taking it on his/her upbeat so it hits w the end of the note.

If not, you have to watch the singer. You can usually see when they are ready to stop  there are little tells, and once you know an actor's tell, you are good most of the time.

36
Hey all!
A few of us are doing some research on the smaller contracts and tiers that don't require an ASM at this time (eg LORT D and C, SPT etc).

This forum allows such a broad reach of diverse SMs, and I would love to hear from you all. Please feel free to PM me with examples of times you really needed a union ASM especially if you are in an area where the word is that there are no union SMs/ASMs to be found. We are collecting all the tales so we can find a way to establish a workable trigger.

Let me know also if we are able to share your name and the theater, or if you need to remain anonymous when this discussion happens.

Thank you all!

37
The latter two of these get used in most often. I use what the producer wants. Many want the report both in pdf form and copied into the body of the email.

However, I have never sent an editable version because my reports are not something that should be changed by anyone else.

38
Introductions / Re: Re-introduction
« on: Nov 18, 2017, 01:32 am »
Nice to see you again! Welcome home .....

39
Stage Management: Plays & Musicals / Re: Spiking Outdoors
« on: Oct 29, 2017, 02:20 pm »
Sidewalk chalk for rehearsals works very well

40
Students and Novice Stage Managers / Re: Line Runs
« on: Oct 18, 2017, 04:55 pm »
That's exactly right. You should be the only person on book. Everyone else should be present and ready to jump in. Of course, depending on the show, there may be long stretches where the bulk of the cast is not doing anything, so you need to (nicely) let them know to please just hang in and bring something quiet to do until it's their scenes  chatting and wandering off are not options and become very distracting.

Is it an Italian run (double time, quick cue pickup with no gaps between lines but reacting to each other) or just a super fast line run with no acting values at all, which is about whether or not you actually know your lines and cues? Either are legit, depending on what the director wants and what the cast needs. 

41
The Green Room / Re: Remembering Nick Tochelli
« on: Oct 07, 2017, 01:00 am »
So sorry to hear this  and so very young! He was such an asset to these boards. Damn.

Yes please, as KMC mentioned, please let us know if there is a way to support the family, and hopefully we can send a sympathy card from this site as well.

PSMKay Thanks for letting us know

42
Introductions / Re: Hello from Denver, Co
« on: Aug 14, 2017, 08:13 pm »
Welcome. Glad to meet you and looking forward to hearing your input/participation on the site!

43
The Hardline / Who has worked on/ attended Fringe Festivals
« on: Jun 16, 2017, 04:17 pm »
An interesting discussion was started locally this week about how Fringe (or other short/limited) festivals are handled around the country.

If you have done anything like that  original short plays w short rehearsal periods, minimal sets/cost/props, sometimes around the clock over an intense and limited performing schedule  can you please send me a note so i can ask some qqs?

Thank you

44
The Green Room / Re: Moving to fight off burnout
« on: Jun 09, 2017, 04:19 am »
I think we all have those moments. I know I went thru a hellish period of several years with high-maintenance actors, directors and designers, all during a particularly stressful point which included my dad's last two years and dealing with his beyond difficult 2nd wife. I made the mistake of continuing to work.

Here's the first suggestion. Take a break. A real break. Take a vacation, whether you hide from the real world or work in a totally different field, but do something that gives your mind and body a break and takes you into a new and different path. It needn't be full time or long term  it could be waiting tables. Just something to break the pattern. Start a hobby, read a book, do things you haven't had the chance to or wanted to try.

When you feel like you've had a rest, give yourself a chance to rediscover what you love about theatre, and how you want to be a part of it. Maybe take an arts admin course and work from that end. Or build props, or direct, or even just be crew and allow that last word to be someone else's. When you are coming from that new perspective, the jobs you want will come.

And, one of the most important words you can learn to say is one we as stage managers are taught to remove from our vocabulary, but actually, saying "NO" is a skill that can be vital to our survival at times like these.

Good luck. I know there is great wisdom on this site and others will have other ideas to help you along. But taking a real break can be a life saver. And remember to always breathe.

45
Yes, read up on the opera thread  because the protocols and hierarchies are a bit different. And so are the egos. And yes, you will be literally cueing almost everyone's entrances if it's a professional house. But it can be great, and if you read music and find this your niche, it is a field where there is good work and opportunity.

Have fun!

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