46
The Green Room / Re: Things Stage Managers Say
« on: Mar 21, 2012, 11:16 pm »It's ok, we have hours until we open.
Correction... Before we open TONIGHT!!!
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Correction... Before we open TONIGHT!!!
47
Stage Management: Plays & Musicals / Re: Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Mar 11, 2012, 10:11 pm »
Anyone have The Importance of Being Earnest? PDF or word format is fine.
PM for an email.
Thanks!
PM for an email.
Thanks!
48
The Green Room / Re: Hell in a Handbag (A Game for Stage Managers)
« on: Mar 10, 2012, 08:43 pm »
Possibly my new favorite thread.
Who is shooting Sam? Will it be onstage or offstage? What kind of gun will be used? Will the sound be recorded, or will we use blank ammo? Do we have a fight choreographer / fight captain? Does the gun need to be loaded live onstage? Will we need a blood bag on Sam? Does he fall after being shot? Will he need a crash pad? Knee pads?
Tony will open the Prologue holding a torch.
Who is shooting Sam? Will it be onstage or offstage? What kind of gun will be used? Will the sound be recorded, or will we use blank ammo? Do we have a fight choreographer / fight captain? Does the gun need to be loaded live onstage? Will we need a blood bag on Sam? Does he fall after being shot? Will he need a crash pad? Knee pads?
Tony will open the Prologue holding a torch.
49
Students and Novice Stage Managers / Re: Flexing your creativity
« on: Dec 12, 2011, 12:46 pm »
Welcome to the site!
I have found that many directors like to work in a collaborative environment -- everyone's ideas are fair. I enjoy that aspect of creativity within the production. Also, I find that once the show is running, there is often a bit of ebb and floe in the calling of a show. If a particular joke lands really well on the audience, I may hold the doorbell sound cue that takes us into the next scene. It's a matter of milliseconds, but your contribution as the stage manager is to support the production towards its best version.
Another creative responsibility of the stage manager is problem solving. When things go awry, the SM has to think on their feet and solve it in the best way possible. Do you send a cast member onstage to clear the prop that fell off of the rolling wagon during the last scene change? Do you wait until the next blackout? Can you even wait that long or is a line of chorus girls about to head right through that space in tap shoes at breakneck speed? Do you have crew members in costume? Do you even have an extra cast member to take care of it? All of these questions need to be answered (and quickly). There's a lot of creativity involved.
Finally, if those kinds of creativity aren't enough for you, find an outlet that satisfies you. Draw, paint, play music, write, dance. Do something in your spare time that will fill your creativity quota.
Personally, I very much enjoy the 'business' aspect of stage managing. I call it the mathematical side of theatre. But I also need a creative outlet (and it helps to have a place to let off steam away from work). I play piano as a stress reliever. I also keep a coloring book and a box of colored pencils around when I'm working. It's mindless enough and creative enough that it becomes a great way to wind down after a long day of tech.
I have found that many directors like to work in a collaborative environment -- everyone's ideas are fair. I enjoy that aspect of creativity within the production. Also, I find that once the show is running, there is often a bit of ebb and floe in the calling of a show. If a particular joke lands really well on the audience, I may hold the doorbell sound cue that takes us into the next scene. It's a matter of milliseconds, but your contribution as the stage manager is to support the production towards its best version.
Another creative responsibility of the stage manager is problem solving. When things go awry, the SM has to think on their feet and solve it in the best way possible. Do you send a cast member onstage to clear the prop that fell off of the rolling wagon during the last scene change? Do you wait until the next blackout? Can you even wait that long or is a line of chorus girls about to head right through that space in tap shoes at breakneck speed? Do you have crew members in costume? Do you even have an extra cast member to take care of it? All of these questions need to be answered (and quickly). There's a lot of creativity involved.
Finally, if those kinds of creativity aren't enough for you, find an outlet that satisfies you. Draw, paint, play music, write, dance. Do something in your spare time that will fill your creativity quota.
Personally, I very much enjoy the 'business' aspect of stage managing. I call it the mathematical side of theatre. But I also need a creative outlet (and it helps to have a place to let off steam away from work). I play piano as a stress reliever. I also keep a coloring book and a box of colored pencils around when I'm working. It's mindless enough and creative enough that it becomes a great way to wind down after a long day of tech.
50
Stage Management: Plays & Musicals / Re: PEOPLE: "Overstepping" Director
« on: Dec 10, 2011, 10:42 am »
On the show I'm currently working, the comapny's Artistic Director is one of the actors, and his wife is the director (and she also was the set designer). Oh, and their two kids are in the show too. So there are a lot of different hats flying around. I've found that it helped to discuss all of these hats with them at the beginning of the process. So as we went through rehearsals and performances, I made sure to start our conversations with "I'm talking to you as the Artistic Director" or "...as the director" or "...as parents" etc. so that everyone knows what part of the communication chain we are dealing with at the moment.
I got a special added gem during last night's show because one of our crew members was too ill to run the show, so our director stepped into the track -- so I got to be her backstage boss for the night. So there was yet another hat.
I got a special added gem during last night's show because one of our crew members was too ill to run the show, so our director stepped into the track -- so I got to be her backstage boss for the night. So there was yet another hat.
51
The Green Room / Re: Thread to vent about / Actors behaving badly / As haiku only
« on: Dec 04, 2011, 12:25 am »
Show with fake curse words,
plus six-year-old boy equals
the kid writing f***
plus six-year-old boy equals
the kid writing f***
52
Tools of the Trade / Re: [FAQ] What goes inside a SM Kit?
« on: Nov 12, 2011, 04:38 pm »
I've been using masking tape to put labels on coffee mugs for rehearsals. Hey, it's lying around anyway, right?
53
Stage Management: Plays & Musicals / Re: PRESS RELEASES
« on: Nov 06, 2011, 01:00 am »
Okay, maybe I overused the word "right." I think you have the option to make a stink about it.
Also, RuthNY makes a great point that it may not be related to the staff specific to your production. Of course, if that is the case, it raises a larger issue -- why would the press find it not worthwhile to include the Stage Manager? (How many characters can that take up, really?)
Also, RuthNY makes a great point that it may not be related to the staff specific to your production. Of course, if that is the case, it raises a larger issue -- why would the press find it not worthwhile to include the Stage Manager? (How many characters can that take up, really?)
54
Stage Management: Plays & Musicals / Re: PRESS RELEASES
« on: Nov 05, 2011, 11:53 pm »
I know we are working on different levels of production, but one thing I've noticed since joining Equity, which might have a correlation to your question.
I have found that producers/higher-ups/etc have some strange disconnect between the words "Equity" and "Stage Manager." They don't take into consideration the fact that an AEA SM isn't just there to make sure the rules are obeyed for the actors -- we have rights, too, and they are outlined in the same document. So when they send out press releases without your name, you have the right to make a bit of a stink about it. If you have the right to have your name on the title page in the program, you have the right to be in the press release.
I have found that producers/higher-ups/etc have some strange disconnect between the words "Equity" and "Stage Manager." They don't take into consideration the fact that an AEA SM isn't just there to make sure the rules are obeyed for the actors -- we have rights, too, and they are outlined in the same document. So when they send out press releases without your name, you have the right to make a bit of a stink about it. If you have the right to have your name on the title page in the program, you have the right to be in the press release.
55
Students and Novice Stage Managers / Re: "Senior Showcase"
« on: Nov 02, 2011, 11:44 pm »
To piggyback on what Matthew said, maybe the best option is to split the difference. Post your resumes and photos at the showcase, set up your speed dating or what have you. But take advantage of simply being in New York. Try to shadow a Broadway SM while in town (or several, depending on your trip duration). Find any and every way to meet people who might be able to hire you. And come fully stocked with resumes and business cards.
56
Students and Novice Stage Managers / Re: call times
« on: Nov 01, 2011, 07:44 pm »I believe it came about in the first company I DSM'd for because the Orchestra were quite unreliable about being in the pit on time, meaning we went up late. The 1st and 2nd calls were to give them their own Five, in effect.
C
Thanks! That makes much more sense than what I was thinking... I was somehow imagining that the orchestra was divided into two groups for ease of getting into their seats. ....But I like to over-think things a bit.
57
Students and Novice Stage Managers / Re: call times
« on: Nov 01, 2011, 07:38 am »
What is 1st orchestra versus 2nd orchestra? I've never heard of those terms.
58
Students and Novice Stage Managers / Re: call times
« on: Oct 31, 2011, 07:56 pm »
I worked at a theatre this summer where places was at 5minutes to posted time. But it was actually necessary. The dressing rooms were OH so far away from the stage. Also, it was a hydraulic pit so we had to be absolutely sure that every orchestra member was in before we even thought about moving it up to show level.
59
The Hardline / Re: Backers' Audition Code
« on: Oct 07, 2011, 07:30 pm »
That's good to know. I haven't done a staged reading, but I've read thru that code a bit, figuring I'll end up working on one at some point. Thanks!
60
The Hardline / Backers' Audition Code
« on: Oct 07, 2011, 07:07 am »
Has anyone every worked under this code? I just booked a gig under it, and the code is one page long. I'm confused by it, and looking for any words of wisdom.