Messages

301

Stage Management: Plays & Musicals / outdoor theatre

« on: May 22, 2006, 03:33 pm »

If you have a bit of extra time available, I would highly recommend holding wind and rain tech rehearsal sessions. Basically, you should have a choreographed plan for crew in the event of rain or high winds. Everyone should know where to get their tarp/weights, and each crew should have an assigned item (set piece, truss, etc.) to tend to. If you ever encounter rain or wind in a rehearsal or performance, your crew can save the equipment and protect the performers and audience quickly, efficiently, and professionally. Ask your producers if you can get such time with the crew - but it could mean the expense of an extra rehearsal or crew hours. If you can't practice on your feet, sketch out a plan and present it to the crew. When weather comes up, it can get dangerous fast and your safety plan that seemed extravagant at first could save the day.

PS: keep some towels backstage, and plenty of bug spray and sunblock in your kit, too!

302

Employment / salary negotiations

« on: May 22, 2006, 03:18 pm »

I've spent many years as a freelance SM, but I've also been the hiring PM on the other side of the table. Depending on the theatres you're applying at, there may be more money than you think. Don't sell yourself short because you feel bad asking that 501(c)3 theatre for a raise. Chances are, the money is actually there. But they may or may not be able to afford to give it to you. Be honest with the theatre about your needs, and they'll be honest about their resources.

You didn't mention where you're working, or what types of theatres/contracts, but my biggest recommendation to you would be to join the Stage Managers' Association, subscribe to ARTsearch, or just start sending your resumes out - you've got to start competing for the jobs that pay a living wage. They are out there! You may have to travel; you may have to tour; you may have to learn new skills (foreign languages, reading music, rigging lighting); but the other half of being a high-earning SM is cultivating a superior skill set. Meanwhile, you could be spinning your wheels with great theatres that don't pay you what you're worth. You're a professional, and you deserve to find a place that can pay you like one.

Finally, you mention the intimidation factor - don't handicap yourself when asking for what you deserve! Yes, it's easier said than done, I know. But you've got to fire yourself up and really believe that you're worth what you're asking. Don't be ashamed - just be honest. If the theatre doesn't have the money, they'll be honest with you. Read a few business books on salary negotiations - they apply to theatrical jobs and non-profit theatres, too. These books could help you understand that asking for a certain salary won't destroy your chances of getting the job and won't make you look greedy - it's just a conversation you'll need to have as you fight for your living wage in the arts.

303

Employment / fired from an SM position

« on: May 22, 2006, 02:59 pm »

I was dismissed from a semi-professional chidren's show (non-union) just as tech week began. The director swore at a child in rehearsal, and I privately asked him later to refrain from using strong language around or directed towards the children. A day and a half later (after he had booked someone to take my place), he fired me for insubordination. I took him to court and won. In this situation, I was performing all my SM duties, I had a positive attitude towards the produciton and every individual in the company. I ran productive rehearsals and the production was coming along well. When I was replaced, I privately offered the next SM my book, notes, advice, anything except my attendance in the theatre. I saw the axe coming down, and had warned my ASM about my conflict with the director, the director's aggressive response, and my suspicion that he would replace me as soon as possible. I did my best to encourage the ASM that the show would go on, and he made it through the rest of the experience without too much anxiety. It was not an easy decision to fight my dismissal - it just seems evil to sue a small kids' theatre. But my request was not out of line, the director was wrong to dismiss me, and the court agreed. I certainly don't put this show on my resume, though several folks from that production (not the director!) continue to be friends, references, and occasional colleagues. The whole experience was no fun, and I hope that none of the fab SMs on this site ever have to deal with stuff like that!

304

Students and Novice Stage Managers / auditions

« on: May 17, 2006, 08:56 am »

The role of a director at an audition is to examine and evaulate the actors and to compose a cast for the show.

The SM usually does everything else. As mc says, your duties could range from receptionist to chief administrator. Some essentials:
-create audition forms for actors to fill out. Sort of like job applications. (include contact info, past experience, availability, etc. Actors usually bring resumes and headshots - attach these to your audition form)
-Welcoming actors and coralling them in a waiting area while individuals audition for the director.
-Creating a sign-up list of audition order
-Setting up the audition space, including a table and chairs for the audition panel (a jar of pencils and some water bottles would be nice)
-Administering the auditions: shuffling actors in and out as effeciently as possible
-Maybe you are asked to phone actors with callback info
-Maybe you are asked to phone actors who don't make the show (this is a depressing job!)
-Making name tags, if the director wants these (I've rarely seen them used, except in group auditions)
-Running the CD player if the audition includes performing to recorded music.
-Snapping digital photos if the director wants "on-the-spot" pics of auditioners
-Cleaning up after
-Keeping your eye on the clock to make sure no auditioner gobbles up too much time. Some people like to hang out after their reading trying to suck-up to the director. You have every right to poke into the room and ask if the director wants to see the next actor. It's only fair - everyone deserves to be auditioned in a timely manner, and you don't deserve to lose your entire afternoon because each actor took a private chat session with the director.

It's an implicit directive that you should try to make the audition environment as calm, creative, and professional as possible. A crazed, messy audition room will probably not help actors do their best, and will take the director's focus away from the talent.

While you're busy making all this happen, you probably won't see many of the actual auditions. So it might be hard for you to comment on the talent (or lack thereof). Most directors I've worked with never ask the SM about casting choices. But a few do. Specifically, they might ask you about how someone looked, about their singing voice, about their personality. I recommend never to offer an opinion unless asked. And the only exception I would make to this would be if someone demonstrated an extremely disagreeable personality under your witness (doing drugs in the audition hallway, for example - only something that extreme). You should share info like this with the director, because such behavior could be extremely destructive to the overall production process.

A few other things -
-If there's singing in the audition, folks will probably ask for a place to warm-up. Have some ideas of where to send them.
-Know where the nearest drinking fountain and restrooms are.
-Be able to tell people if casting will be completed today, or a time by when they can expect to know the results of the audition.
-Be able to tell people the exact beginning and ending dates of the production engagement, and general rehearsal times (evenings til 9? or til 11?).
-If there's dancing in the audition, be sure the waiting area has lots of space for dancers to spread out and stretch.
-If the director will ask them to read from a script, have extra copies (even just of the audition excerpts) available for actors to peruse while waiting.
-It is NOT your job to be a cheerleader, therapist, or gofer for either the director or auditioners. Smoothing ruffled feathers or massaging egos will take too much time away from running the busy auditions. Auditions are emotional, but it's not your job to make sure everybody's happy-happy. It's your job to make the audition happen.

305

Stage Management: Plays & Musicals / Re: Paperwork

« on: May 15, 2006, 11:52 am »

I find that sometimes SM's put a lot more time into something versus what they get out.

This is exactly what turned my friend off of WWWs! He'd seen another PSM go nuts perfecting every detail of her WWW to the point where other priorities were getting dropped, and meanwhile no one cared about the document but her. I start my WWW before rehearsals even begin, and perfect it after the show closes - slow and steady means all the details can be absorbed. In the meantime, it's the most useful tool in my paperwork arsenal.

306

Stage Management: Plays & Musicals / FORMS: the WHO-WHAT-WHERE

« on: May 13, 2006, 11:53 am »

I am currently engaged in a lively debate with another SM about the value of a Who-What-Where (WWW) production document. If you're not familiar, the WWW is a master document that tracks absolutely everything in a show - every entrance/xt, every prop, set piece, rail/sound/fx cue, costumes (actually, I don't think I've ever seen lights absorbed into a WWW). Usually it's a huge chart set up this way:
Time In // Who // What // Where // Notes
15:34  //Marie//Wine btl//ntr sr, x to c table//bottle has water inside

I think these documents are marvelous and I start building one before rehearsals even begin. All my running sheets are then zapped off by pulling info from this master document - it's a snap, and I can't imagine doing it any other way anymore. And I think it's an amazing tool for the archive; In theory, with a groundplan and the WWW, you could remount any production blind. Other SMs I've spoken with think they're ridiculously detailed and ultimately useless because there's just too much information. Does anyone else want to chime in on your love/hate of the WWW?

307

Stage Management: Plays & Musicals / more backstage craft services

« on: May 13, 2006, 11:28 am »

Ah, yes - even more...
At one opera company, we have lozenges and hard candy available backstage whenever we're in the theatre, and props takes care of keeping this stocked.

Also, I worked on an 'Aida' were we had about a dozen professional bodybuilders in the triumphant march scene (and scattered throughout the opera). These guys were on strict diets and had to take in protein, carbs, and various jugs of strange drinks constantly backstage. They all brought their own food/powdered drink stuff, but it was an eye-opener to realize that the "no food backstage or in rehearsal" would disrupt their fitness regime. They were very courteous and tidy, and it worked out fine in the end (not too many worries about getting food on their costumes, since they were hardly wearing anything!).

308

SMNetwork Archives / don't get sick

« on: May 12, 2006, 02:50 pm »

As soon as you feel yourself getting weary, take some Emergen-C (available at GNC, Trader Joe's, and other healthy/hippie places). It won't cure the worst, but it'll help. I was introduced to it in the world of opera, where grown adults treat illness like the boogeyman.

A multivitamin should be a habit - but at least try to have one daily when in production. Rest, healthy eating, and lots of water should be everyday priorities. It's hard to keep up when you're working like crazy on a show, but this is really when you need it most.

309

Students and Novice Stage Managers / shushing

« on: May 12, 2006, 02:38 pm »

Usually, I stick with "Quiet, please" or "Silence, please". Every now and then there is the need for a longer rant ("Your excessive chatter is hindering the progress of rehearsals and is just plain rude. Please stop, etc."). But I have an alternative that catches them off-guard every time - when folks are chattering backstage, I rush over and with a very concerned voice make sure nothing is wrong... because I saw them talking and knew that there must be a problem if people were talking and not paying attention backstage... are they sure no one needs first-aid or anything? It's a little passive-aggressive, but very effective. An abbreviated version: "Is something wrong?" -No "Then please stop talking." This is also nice because sometimes (ok, rarely) folks are going over blocking together or something productive. I might then thank them for their diligence and ask them to proceed a little more quietly.

310

Students and Novice Stage Managers / references

« on: May 12, 2006, 02:06 pm »

My references are always on a separate sheet of paper. That sheet has a letterhead that matches my resume. I don't even put the "References available on request" on the resume - I think the fact that an applicant would provide references when requested is a given in any situation. If I know they want references, I include them when I send the resume. If it's a position that doesn't emphasize refs, I don't offer unless asked. I also have a master document of references (names, titles, contact info, 1 sentence about how they know me), and then pick and choose 4 or 5 references for each application. That way, the references are tailored to the needs of hiring company - whether they want to see supervisory/peer positions, technical/artistic, production/administrative, and based on genre (opera/drama/events/whatever). Diligent? Yes. Excessive? I don't think so - it's worked for me every time.

311

Students and Novice Stage Managers / calling heavy sequences

« on: May 12, 2006, 01:45 pm »

I'd like to add one note about calling complex cue sequences - work to cut your syllables to a minimum, and make it a habit. You won't have to think about making your calling more efficient - it'll already be as effecient as it gets. An excellent SM I worked with was very meticulous in his language, but when he came up on heavy sequences he would get flustered with getting all the words out. He normally would take time to describe some cues in standby ("Standby rail cue 22, which is the main rag in...") - it's a nice reminder but just too many words when you're moving fast. So instead of "video monitors turn off - go" he eventually started saying "TVs - go" (which didn't confuse the crew because they had been briefed about needing the onstage video switched off in the blackout, and since the TVs were already on, there was only one thing "go" could mean: turn them off). This MUST be your habit so that it will be natural to you and relieve that much more stress when you're in the thick of it.

312

Stage Management: Plays & Musicals / MORALE: Hospitality backstage

« on: May 12, 2006, 01:26 pm »

At every opera company I've worked for, it was standard-issue to provide coffee & tea (with accoutrement) backstage. Sometimes this means hot water with instant coffee, lipton tea bags, and a tube each of sugar and non-dairy creamer. Sometimes it means one percolator of regular coffee, one of decaf, one of hot water; teas: black, herbal (non-caf), and green, sweeteners: sugar, sweet&low/equal, splenda, honey; non-dairy creamer; cups, napkins, stir sticks. Plus cold bottles of water labeled and set aside for principals.

For big act concerts, there's usually some provision for a plate of hot food and good drink backstage. I've even been asked to carry a bottle of champagne to a singer's dressing room (it was rejected when it wasn't real champagne). I worked a musical concert one-off that had a huge hospitality table with a variety of sodas, pizza, fresh nibbles and bagged snacks, hot coffee & tea, desserts, etc. etc. I have learned to always, always have coffee and filtered water available for a union crew and orchestra.

And it was a stage management duty to set it all out, keep it pretty, and clean it up. While this can be a pain, I actually kind of like fussing with the hospitality - it's a nice little chore and the way I prefer to begin my evening (after setting up the call board).

So here's my question - what else have people encountered backstage? Are there different usual offerings for dance/theatre/orchestras/opera? Does the SM team handle it, or the Company Manager, or someone else? Any stories to share?

313

The Green Room / food

« on: May 12, 2006, 12:56 pm »

Luna and Cliff bars are awesome - if it's a stressful, busy production, they become nearly all I eat. Sometimes I make a big batch of gazpacho and sip it from a travel mug - but then I have garlicky breath. PB&J sandwiches are standard-issue, and I usually have a few apples/oranges on the tech table. Bags of pretzels usually live in my office. Basically, I gather up no-fridge, no-reheating, no-mess, no-utensil, eat-while-standing snacks to carry me through the show. Otherwise, I can forget to eat for days (it's happened).

314

Stage Management: Plays & Musicals / Post dramatic stress disorder

« on: May 12, 2006, 12:01 pm »

With my degree in psychology, I've started calling your syndrome Post Dramatic Stress Disorder. Nearly every SM I've ever known has experienced it. Some are more likely to experience the syndrome and some show symptoms longer than others. Invariably cured by starting another show.

315

Students and Novice Stage Managers / full-time employment

« on: Jan 31, 2006, 01:44 pm »

Join the Stage Managers' Association (SMA) right now! (www.stagemanagers.org). Membership is only $40, plus a $25 one-time initiation fee. In return, you'll be plugged into an amazing network of professional stage managers nationwide. You'll receive emails from companies constantly looking for stage managers. While not many salaried positions are posted here, you can catch tours/cruises and lots of short-term gigs. There are lots of other opportunities to being a part of the SMA - including Operation Observations and the chance to meet and network with people who have been career SMs for decades in all genres of theatre.  

You could also subscribe to ARTsearch (www.tcg.org), $60 for 1-year of online access. ARTsearch is a regularly updated posting of artistic jobs for theatres, schools, and museums - including SMs, props, wigs, wardrobe, set building, as well as development/marketing/administrative professionals.

Besides all that, hit the websites of any theatre you've dreamed of working with. Contact them to see if they have a need for stage management. If you're willing to work in other areas (especially development and fundraising - seems like theatres are always desperate for grant writers), you might have improved chances of getting a salary there and SMing in addition.