Messages

301

Students and Novice Stage Managers / computerized paperwork

« on: Jun 01, 2006, 08:05 am »

10. Almost everyone has it.

And if they don't have it, they can download a free viewer from the Microsoft website that will allow them to view and print the worksheet.  I do my rehearsal schedules in Excel and send them out via email to the cast and artistic staff. When I send out the schedule for first rehearsal, I always include the link in the body of the email letting them know that my schedules are done in Excel, and if they don't have the program, that they can download the viewer for free.

302

Stage Management: Plays & Musicals / Creating a call script

« on: May 29, 2006, 08:26 pm »

Question for people who use electronic scripts and call books -- what do you do, type the whole script over, or scan the pages onto your computer?  

The theatre company I work with creates the electronic version of the scripts.  The production interns scan, format, and edit the scripts.  They format them in such a way that the pagination exactly matches the printed version.  When I come in for pre-production, I have the ability to change the margins and set it up exactly how I need it for my book.  

I haven't done a computerized call script, but I think I'm going to try on my upcoming show.  I'll stick with pencil and a ruler during tech, though.

303

Students and Novice Stage Managers / Audition

« on: May 19, 2006, 10:10 am »

At the "cattle call" auditions I ran in college, we saw 15 people every 20 minutes.  They got one minute each to do a monologue of their choosing.  Depending on what shows we were casting, there were nights when we would be there 250-300 people auditioning and we would have to listen to all of those monologues (my favorite, of course, the girl who came up and said, "I will now be doing a monologue from the motion picture, Center Stage.")

My function as the stage manager function at those particular auditions was to organize everything ahead of time, post sign-up lists, arrange hospitality for the directors and my audition staff (volunteers who I asked to help out), etc.  For the actual audition day, my ASM ran everything on the outside, and I ran the room on the inside which basically meant keeping things running smoothly and on time and assisting the director in keeping all of the headhots/resumes sorted.  An accordion file or file folders labeled by character or yes/no/maybe can help you be able to sort as you go as opposed to in the middle of the night.  My ASM cleaned everything outside of the room as soon as the last audition group came up, then cleaned up the room as I went into a conference with the director to create the callback list.  

Callbacks were always much less hectic because they were smaller, but my ASM and I tended to run them the same way as the auditions.

Hope yours run smoothly!

304

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

« on: May 15, 2006, 04:39 pm »

I had never seen a WWW until our child wrangler made one for Carousel specifically for the young actors.  When we got into performance, we had a "handoff" system for the young actors (CW brought young actors to one of the ASMs), so I was able to take the info from her WWW to add when to expect young actors/what props needed to be handed to them to my run sheet.  

 I've never created a WWW myself, but I can see its benefits.

305

SMNetwork Archives / Calendar Programs?

« on: May 01, 2006, 05:58 pm »

I have found that Microsoft Excel is a great program to do calendars in.  It's very easy to format and manipulate.  Also, Excel is a fairly common program for both PCs and Macs, so it's very easy to send as an attachment.  And for people who don't have Excel on their computer, there is a free Excel viewer that people can download from Microsoft that allows for viewing and printing of Excel documents.

306

Students and Novice Stage Managers / Calling a HUGE Show... HELP!!!!!

« on: Apr 08, 2006, 01:10 am »

I have to agree with the above, but the one thing not yet mentioned is cue lights.  Will you be calling the entire show over headset, or will you have cue lights at your disposal?  This can help simplify complicated cueing sequences and take fly and deck moves out of the equation so that you are only calling lights and sound over the headset.  It also keeps your rail ops hands on the ropes and not fiddling with a headset.  Depending on the cue light system, it could be a flick of a switch, hitting a button, or sliding down a fader.  So as long as you can talk and hit a button at the same time, you're all set!

On my current show, I'm only calling warnings for the transitions, which are fairly complex.  I then call the entire transition as "Transition GO" because I don't have enough time to call each part of the shift.  And during the big musical numbers, I stand lights by for the entire number because I can't talk fast enough (and would lose my place in the music during the dance breaks) if I tried standing lights by every few cues.  

When I've got tons of cues back to back, I say "Lights GO" or "Sound GO" without the numbers because one syllable is faster than two or three (especially when you get up into the three digit cues).  Just make sure your ops are on board with your calling style.

I also make my crew ask for a clear to speak and control the talking over headset.  

Hope your show goes well!

307

Stage Management: Plays & Musicals / a musical

« on: Mar 21, 2006, 06:44 pm »

A sitz probe is a full company sing through with the orchestra.  It gives everyone an idea of what the show is going to sound like and is generally a fairly low pressure event (at least that's been my experience).

308

Students and Novice Stage Managers / Applications and acceptances HELP!

« on: Mar 16, 2006, 12:20 am »

I worked as a Company Manager for awhile and worked closely with the Production Manager on the internship program, so just to throw in a perspective from the management side of things: we received more applications for stage management interns than all other internships combined.  But, as a general rule, that meant that the SM interns were of a very high caliber because it was very competitive.  

So, if they like you, they'll chase you, but they probably have several options on the table if you decline.  

When making your decision, consider several factors:
*Look at the shows that the theatres are doing and see whose season best fits in with your interests
*Check out the surrounding area of the theatre and what else is close by (know what other theatres are near so you can start thinking about networking)
*Weigh the benefits from each (salary, is housing provided, EMC points, etc)
*Find out exactly what you will do in your internship.  At some theatres, the SM intern is more of a PA than an ASM.
*Find out what other interns who have gone through the program are doing now (are they AEA SMs, not working anymore, etc)

Be as informed as possible.  Best of luck with your decision!

309

Students and Novice Stage Managers / prompt books

« on: Mar 13, 2006, 05:31 pm »

I have all of my prompt books from college because my university did not have an archive system/place to store them.  I had them spiral bound at Kinko's so that I could keep reusing the binder.  They're on a shelf of my bookcase (collecting dust, really, but I occasionally have found a need to reference them).  

Now that I'm working professionally, my prompt books go to the Producer at the end of the show.  The theatre I work at now has a system of binding, so I'm able to just give them my book and keep my binder (a good binder is expensive these days, but can last you for several shows).  I keep an electronic copy of all paperwork (reports, schedules, etc) and make a copy of my script before handing it to the Producer.

310

The Hardline / AEA information

« on: Mar 06, 2006, 05:31 pm »

You have two years in which to pay the $1100 initiation fee ($1000 if you were an Equity Membership Candidate, because they will credit the $100 you paid to join the EMC program toward your initiation fee).

You can pay it all up front, or you can have a certain amount deducted from your weekly paycheck.  I believe if you are working at a theatre and have not fully paid your initiation fee, then you have to have it deducted during the weeks you are under contract until you have paid in full (i.e. $100 deducted from your paycheck for 10 weeks).  

There are basically three ways to become a member of Equity:
1. A producer signs you to an Equity contract.
2. As a member of the EMC program, you acquire 50 weeks of work at Equity theatres.  
3. You join by virtue of one of Equity's sister unions

The Equity website hbelden posted can give you more detailed information.

311

Stage Management: Plays & Musicals / Dealing with stress

« on: Mar 03, 2006, 06:11 pm »

I remember that when I was in college, things were a little crazy, but not quite what you're describing.  I think at my worst, I was in rehearsal 40 hours a week, taking 18 hours worth of courses, and President of Alpha Psi Omega.  But I had two amazing assistants working with me on the show and an amazing set of officers who practically ran APO for me while I was in rehearsal for the show and concentrating on my classes.  

Be careful about overextending yourself because not only can it be detrimental to you and your health, but it can be detrimental to the project and everyone else involved.  

That being said, here are some ideas for destressing:

*Pamper yourself. Go get a shampoo and a haircut.  Get a mani/pedi. Buy a new pair of shoes.  Whatever you feel you need that day.  

*Lay in bed in your pajamas all day long and do nothing but watch tv and eat your favorite comfort foods.  

*Stretch/do yoga on ten minute breaks.  This can be a life saver.  It can really center you and slow/calm your breathing and heart rate.  

*Food and water.  Eat healthy foods and drink lots of water.  We're all tempted to grab fast food or run to the vending machines, but you and your body will be happier if it is getting nutritious food and staying well hydrated.  Avoid caffeine.  

If you need to catch up on real life on your days off, make sure to set aside time on that day that is totally about relaxation and checking in with yourself.  

Hope some of this helps!  I wish you the best!

312

Tools of the Trade / What goes inside a SM Kit?

« on: Feb 15, 2006, 09:47 am »

When I stage manage, I carry two kits.

One of them is a mini-toolbox (12" x 4" x 4") that I picked up at Dollar Tree for $1.  It's actually more of a glorified pencil/paperclip/post-it organizer than a kit, but it's useful.  I keep it on my SM table to have easy access to my office supplies.  

My other one is a large toolbox that is stocked with all sorts of random, useful stuff.  I keep it somewhere near me in the rehearsal hall.  During performances, where I keep it depends on whether I'm calling from the booth or backstage, what the theatre provides backstage in terms of supplies, and whether or not my ASMs have their own kits.

313

Students and Novice Stage Managers / What to do...

« on: Feb 07, 2006, 10:33 pm »

While in college, I was put into a similar situation as the one your are describing.  Our SM program was setup with the following structure: ASM under a upperclassmen; SM a small show; SM a large show (ie musical); ASM for an underclassmen to mentor them.  Usually it worked out pretty well, but there were occasions when the system failed.  

I ASMed Winter's Tale to mentor a new SM in the program.  He was a mess and could not get his stuff together.  On top of this, he thought it wouldn't be a problem for me to run the first two weeks of rehearsal (it was a 6 week rehearsal process) while he was the Master Electrician on another show.  I immediately setup a meeting with the stage management advisor and the director of the tech/design program (essentially our "Production Manager").  I told them what I had observed in our pre-production interaction as well as his request to have me SM the first two weeks of rehearsal.  

My advisor and the director of tech/design took my concerns to a meeting with the director and department chair.  Ultimately, the decision was made to bump me up to SM and they brought in an underclassman new to the program to be my ASM.  The show was smooth sailing once I took over.  And he ended up as the Asst. Master Electrician on the show, and I think he was happier doing that.

In your situation, does the SM know that he is being mentored?  If it is setup that way to begin with, he will be more receptive to constructive criticism as well as any help you provide.

Do you have an SM advisor? If not, talk with the faculty member who makes the SM assignments. Make sure you make your concerns clear and as objective as possible.  

Hope all turns out well for you!