Messages

16

Stage Management: Plays & Musicals / Re: What basics should actors know about tech?

« on: Feb 24, 2009, 07:09 pm »

RuthNY - I think the point of making the distinction is that cue to cue is not the time to stop to ask the director for acting notes. I saw quite a lot of that in my early days of sming, and while it's probably a valid question for the actor to pose, it's not the best time to do so. That's one of the things I want to discuss. Letting them know it's okay to ask about the timing of their entrance, but not the appropriate time to ask about their character's intention on their opening line, for instance.

As a matter of fact, I want to encourage them to think about those things. When do they have to start moving to hit the stage at the right time for their entrance (since it's different than in the rehearsal hall)? The best positions to be in when carrying the table on stage. How far they have to go from the dressing room to their entrance and gauge the timing. I call this stuff the technical elements of acting.  Also, since I don't have an ASM, a lot of these things (particularly backstage traffic) will fall on their shoulders.

The things I want to discourage are things like asking me to clarify blocking JUST before we do the cue. Also, they come from a very "collective" type of training, and I want to discourage too much input, lest I find myself in a room with too many cooks in the kitchen.

SMRose - YES!! We're even doing a paper tech the night before cue-to-cue, and the levels sessions will have been done, so I can ask all my clarifying questions then. We're also having a sort of spacing rehearsal the day before because the set is quite fluid and there's only so much we can do in the rehearsal hall. So I'm going to be as prepared as possible!

ChaCha - Absolutely! I want to make sure they know that there's going to be a lot of stuff going on that they're not going to understand and that's okay. Also that they're going to be asked to do stuff over and over again without really knowing the reasons why, but that I just need them to do it.

Thanks for all your input everyone! This has been really helpful!

Oh, and LCSM, you HAVE to introduce yourself that day!!

17

Stage Management: Plays & Musicals / Re: Creating a Calling Script

« on: Feb 22, 2009, 08:23 pm »

This is why I LOVE this website! In 13 years of stage managing, it has never, ever occurred to me to write my cues in ink after the show's opened. Heh!

Count me as one of the sticker-averse. I would be way too scared of one of them falling out.

As for stand-bys, I don't have a set time (like 20 or 30 seconds). If I only have a lx cue to call, I keep the "down-time" short since all the op has to do is hit a go button. If it's a sound cue, I give a little more time to allow the sound op to double check that they're cued to the proper track and are set at the proper level. If it's a rail cue, I give even more time for them to get to their post (if they haven't already), double-check the count of the cue, and such (yes, I give warnings for rail cues). When I give cluster stand-by's, I always default to the longest.

I also group by type. So, if I have a sequence in the following order: LX 18 and SND 3 - GO, LX 19 - GO, LX 20 and SND 3a - GO, I say my standby as "LX 18 through 20 and SND 3 and 3a".

Don't rush your cues. Say the words clearly. And always say them at the same pace...try not to change it up. This means getting a sense of the actors' timings. If at all possible, try to practice in rehearsal (if you're not taking other notes). For instance, if I KNOW there'll be a cue at a particular point in the script, during one of the last run throughs in the rehearsal hall, I'll say the cue in my head. That helps me gauge timing and gives me a chance to practice before moving into the theatre. Don't worry too much about that though. There will come a time when you are capable of following along on book, watching for blocking errors AND calling a cue all at the same time.

One more thing...I always say the number of the cue when I call it. I don't just say "LX GO", but I say "LX 3 GO".

18

Stage Management: Other / Re: Quesitons Needed for a stage management workshop

« on: Feb 22, 2009, 07:51 pm »

Any experiences you guys have that you think might be a good idea to discuss with new stage managers?

I know I'm really late to the party, but I thought I'd hand in my 2 cents worth. I completely agree with touching on some of the finer points of stage management.

One thing I did as a young ASM in community theatre was be insensitive when giving line notes. I would use the word "mistake" or "screwed up" quite often, phrasing the line note like "You screwed up on page 19, again." The "again" was a problem too. My SM spoke to me about how some actors were becoming offended. I thought I was just keeping it informal, but I was wrong. So it might not be a bad idea to discuss how to choose your words when talking to actors.

Learning to check my temper was another big lesson for me. It took a long time, and I'm still learning, but discussing how to deal with stress might be a good thing too. Things to do when the stress is a bit much. Letting them know that it's okay to call a quick 5-minute break when things get tense, even though a break isn't scheduled. This is another area where thinking about choosing your words comes in handy - you're less likely to lash out if you're thinking carefully about what's coming out of your mouth.

Another really big one that many of us are guilty of is an inability to admit mistakes. We stage managers, generally speaking, are perfectionists, and when we've erred, we either tend to blame ourselves, or look for someone to blame. Admitting to our mistakes, and especially accepting that we're going to make mistakes, is a HUGE lesson for SMs to learn. Many of us have to actually learn that we're human LOL! It's still hard for me to say "I screwed up", but it's a lot harder on everyone if I don't.

Oh, and we don't need to be married to the schedule either! Things are going to change, and we need to maintain flexibility. So many young SMs try to schedule things down to the minute, but we have to remember that we're creating art, and it doesn't always follow a rigid structure. Just cause the schedule is typed, doesn't mean it's set in stone. Um, okay. I think I'm done now. 

19

Stage Management: Plays & Musicals / Re: What basics should actors know about tech?

« on: Feb 22, 2009, 07:27 pm »

Thanks for all the great advice! I've made several pages of notes already and have found myself mired in the details and not really thinking about a kind of general overview and needed to take a step back. (I got to a point in my notes about the LX hang where I started explaining the difference between hanging instruments on a fixed grid vs. on electrics pipes! I'm thinking that might be just a wee bit much LOL!)

I do have a meeting with the actor and the school's program coordinator tomorrow morning where we'll discuss how we're going to approach this mini-workshop, and we've already decided that they're gonna chat with the students while we're doing sound levels in the theatre before the media call. I am, however, going to have an hour-long chat with the students before that.

I just wanted to make sure that I was on the right track, and you guys have helped me focus. Thank you!

LCSM - Why, yes it is!  We're actually going to be in the studio space (a little black box that doubles as a rehearsal hall for GCTC shows). How did you hear about it?

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Stage Management: Plays & Musicals / TEACHING: What basics should actors know about tech?

« on: Feb 21, 2009, 08:14 pm »

I'm currently working on a production of Peer Gynt. The lead actor is an accomplished, award-winning performer, as well as a Stratford veteran and Dora-award winning performer. (For all you Americans, it means he's "good"  ) The rest of the cast are students at a local conservatory, most in their early 20's.

Long story short: I started this with the expectation that we were working in a professional environment and that the students had been prepared to do so. I've been running rehearsals as though everyone were under an Equity contract (proper breaks, call times, etc.) In turn, I had been assured that the students had at least been given a run-down of what was expected of them (off-book, rehearsal hall behaviour, etc.). This obviously has not happened, and now we're heading into tech week in 2 weeks. I can deal with the rehearsal stuff, particularly by speaking with them one-on-one, as well as with their program coordinator. The problem is tech week. We have exactly one week from load-in/set-up to Preview. Not much time to "teach".

Couple more things. I wasn't contracted to do any teaching, nor do I have an ASM. It's a cast of 11 and a 91 page script. We have no 10-of-12s, so are limited to 9 hour tech days (for everything, including the hang and focus, levels, cue to cue and tech rehearsals).

I'm meeting with the lead actor and program coordinator on Monday morning to devise a mini-workshop for the students as an introduction to tech week. The lead actor also teaches at the school, so he's perfectly placed to discuss the actor's process during tech week - how to retain focus; dealing with the fact that for the first time in the process it's not about you; that kind of thing. I'm going to introduce them to the tech end of things.

My question is this: What do you think I should tell them? Frankly, I could put together a 20 page package for them, but that'd be counter-productive. I'm looking for the absolute most important things, preferably in point form, that an inexperienced actor needs to know about tech week. Only 2 of them have even experienced a cue to cue, and those were in community theatre. Now we're working in an IATSE house with an Equity actor. Any opinions people here can offer would be appreciated.

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Students and Novice Stage Managers / Re: Staged Reading?

« on: Feb 21, 2009, 07:44 pm »

I've done a number of public staged readings and they're really quite simple. Track the text changes because the playwright is gonna be too busy listening to be able to do it. It can't hurt to take notes on the discussion and ask if the playwright might like a copy (get permission first). Heck, the artistic director of the producing company might be interested in these notes (I've been asked by an AD before). You're gonna make a lot of photocopies. As for stage directions, just ask. It's okay for you to take rehearsal time to be clear on the stage directions.

Remember though that it's a workshop - people (particularly the playwright) are there to see where their work doesn't work. This can make them feel particularly vulnerable. Be sensitive.

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Students and Novice Stage Managers / Re: Tech

« on: Feb 21, 2009, 07:29 pm »

Ooooh! I LOVE the Paper Tech!! Yes, LDs tend to not like them so much because, yes, a lot WILL change. But if you end up doing lighting levels and cueing after the paper tech, you just make your notes. If you're lucky enough to arrange a paper tech between cueing and the cue to cue, then you're golden 

I think that if you just reassure your LD that you're writing in pencil for a reason (that it's going to change and you're expecting it) then you can get your questions out without worrying about the expense of wasting time when a technician is called.

Of course, any LD who's THAT worried about making changes should probably reconsider their career choice 

23

The Hardline / Re: AEA Apprenticing??

« on: May 31, 2008, 07:33 am »

Joining AEA.  You can join in one of three ways:

1) work in equity theatres as a AEA candidate and accrue 50 weeks of work, pay your money

2) have a theatre hire you on under an equity contract, pay your money

3) be a member of a sister union, pay your money

They did away with #2 a few years ago. Now SMs HAVE to complete an entire apprenticeship. In my case, it's been somewhat difficult since there are only 2 theatres here in Ottawa where I can apprentice (plus the opera). It's not much different than most cities in Canada, with the exception of Toronto.

Of course, the "pay your money" part is pretty universal LOL!

24

Stage Management: Other / Regarding SMing Dance with a Stopwatch

« on: May 24, 2008, 11:10 am »

I was reading the thread about SMing dance and I wanted to illustrate why it's NOT a good idea to use a stopwatch as the basis for calling a show.

I am currently working on a ballet with 60+ kids, ranging in age from 5 to 19, with 4 professional dancers. My crew consists of parent volunteers and trained volunteers who work for the theatre venue. Thus, I never end up with the same crew for more than one performance, and some are more experienced than others. Because the kids are still in school, we don't get full days with them, so none of my rehearsals can be longer than 4 hours. The company can only afford to rent the theatre for a week, which includes 3 performances. Basically we load in & build cues on day 1, do spacing on day 2 (the LD builds more cues in blind), tech act 1 on day 3, tech act 2 on day 4, dress rehearsal on day 5, then performances on days 6 & 7. I get to see 3 rehearsals before we move into the theatre.

In this situation, from what I've read, most people would have called from a stop watch. That's all well and good, EXCEPT on day 2, after spacing, when I was getting the lx cues in my book, I was informed that there would be pitch changes to a few of the tracks. Actually, it turns out that of 21 tracks, only 5 of them are at a normal pitch. If I had planned on calling from a stopwatch, I would have been royally screwed since all the pitch changes mess up the timings of the tracks. I guess I could have gone home and re-timed the show with the pitch changes (not that I have that capability at home) but the pitch changes keep CHANGING.

So, I have no score, can't base my cues on timings, and have to keep a close eye on my inexperienced crew to make sure they're safe. What's a poor SM to do?

I build my own score. It takes A LOT of work, but it's worth it. Basically, I sit down with the music and a bunch of blank music sheets and write in what I call "landmarks" in the music. I have a basic knowledge of music, and can read, but have never played an instrument, so I can't tell the difference between a C and an F sharp. But I can identify a cymbal, or a timpani. Or when horns come in. I mark out clearly identifiable notes and anything else that helps me identify where I am in the music. Then I write in my cues exactly like I would with a real score.

This is not to say that I DON'T use my stopwatch. In this instance, because of the pitch changes, I have to ask my sound op how far we are into the track every once and a while if I get lost, and I still put timings at 15 second intervals in my score. On the plus side, I can keep an eye on my crew. For instance, yesterday, I was about to call the scrim in, but noticed that a crew member was right under it, so I held off, got the crew member to move, then called the scrim. My volunteer fly op wasn't watching the deck, and my parent crew member wasn't totally aware of his surroundings. I was able to avoid potential injury because I was on the deck, listening to the music, and keeping an eye out on everything, and not with my nose in a book or blindly calling cues off my stopwatch.

This also helps when trying to call cues on visuals. Because of the limited amount of time I have in rehearsal, I really can't learn the dance all that well. So I sit down with the choreographer and find out when in the music the visual is supposed to happen. It drastically reduces the learning curve since, even though I'm still calling on a visual, I know when it's coming in the music and can time my stand-bys accordingly.

It's not a perfect system because I don't know how easily it would be for someone else to pick up my book & call the show. But considering I've only had 3 days since I found out about all these pitch changes and I'm ready for the performances today, I'm pretty confident that my "score" is working.  If anyone is interested in seeing a scan of a few score pages, I'd be happy to send one.

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Stage Management: Plays & Musicals / Re: LAUNDRY!?!!?

« on: Jun 01, 2007, 10:56 am »

Okay, I know I'm a bit late to the party, but....

In Canada, the CTA (Canadian Theatre Agreement) specifically states that stage managers CAN be required to do laundry.  It's just that, unless it's an IA house where WB is part of the union (not necessarily true all the time), then you can't do laundry.  But it's not uncommon here.

Hmm, I suppose I should start talking to my rep, eh?

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Stage Management: Plays & Musicals / Re: How to keep kids *quietly* busy at rehearsal when they're not needed onstage

« on: Sep 20, 2006, 03:35 pm »

All excellent suggestions.  I particularly like j-la's and the BSP's.  Great idea giving them a title.

I've done several shows with as few kids as only one (with his own child wrangler) to as many as 80 kids from 5 to 17 years old.  To add to all the brillant suggestions already posted, let me also say that you have to lay down the rules EARLY.  I think back to when I was in elementary school, or doing summer camps and all the best teachers/leaders set out the ground rules clearly and early.  In the past I've found that a direct, no-nonsense approach works best for me, especially if I'm SMing and I have an ASM that works closer to the kids than I do.  I'm not there to become their best friend; I'm there to make sure we put on the best performance possible. 

Without going into details about what an SM does, I basically tell them that my job it to make sure they look as great as possible, and if they don't follow these simple and clear rules, then I can't make sure they don't look like dolts on stage.

I also sometimes explain the WHY of certain rules.  For instance, kids will want to check out the backstage as soon as they are able, and touch and play with whatever they can get their hands on.  I tend to put the fear of God in them by punctuating my points with stories of injuries.  Sometimes with a little exaggeration to get my point across: for instance on a show where I had 80 kids running around backstage, I got the flyop to let an empty pipe come in as fast as was safe, showing the kids how low it could go and how fast it could come in.  Then I pointed to the fly rail and said "Don't touch".  None of them did.

I also treat them as much like adults as I can.  Past a certain age, you can say to them that they have a responsibility to look out for themselves.  This often gets great results with teenagers, since they often feel like people aren't treating them like the adults they think they are.

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SMNetwork Archives / Re: Drinking Games

« on: Sep 20, 2006, 03:08 pm »

OMG that's hilarious! 

I'm just thinking of how completely wasted I'd be only halfway through some of my techs, even if I only drank lite beer!

 

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SMNetwork Archives / Re: International Dictionary (Theatre Words)

« on: Sep 14, 2006, 03:25 pm »

Yeah, I'd probably pick it up.  I've got the hard copy and it's come in handy here in Ottawa, one of the few truly bilingual cities in Canada.  I've done some tech calls at the French theatre here and I'll tell ya, the book has come in handy on a few occasions.  My French is pretty rusty, but having the technical terminology available has been helpful.  Let alone trying to figure out if Stage Right is Cote Cour or Cote Jardin!!

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College and Graduate Studies / Re: College advice

« on: Sep 11, 2006, 12:14 pm »

I kinda did both.  I'm about thisclose to getting a BA in Economics, but I dropped out because I HATED it.  Took a year off, then took the BFA.  Loved the conservatory program, but this was after I'd already almost completed my liberal arts degree.  (overeducated much?)

But I was heavily involved in community theatre thooughout my BA, so I got hands on experience before even going to school for stage managerment.  By the time I started the BFA, I'd SM'ed close to two dozen shows, and acted in more than a dozen more.  I probably could have skipped the BFA entirely, but I'm very glad I did it.  Right place and right time for me.  That's the most important thing, I think.

30

Employment / Re: Electronic Portfolios- Need Help

« on: Sep 11, 2006, 11:43 am »

I would second what stagemonkey and ljh007 said. 

For unsolicited applications, the cover letter & resume would be the best option.  You don't want to overload someone who may or may not even have a position available.

For applications to a particular job posting, I'd suggest stating that a portfolio is available upon request and if they ask for one, provide a couple options for the format.  Some prefer .pdf, but some may not know what a .pdf is (seriously!).  Some may disagree with me on this one, but my reasoning is as follows: not all SM's will offer a portfolio and the interviewer may be curious thereby initiating a dialogue with you prior to a potential interview.

If you get a call for an interview, ask if the interviewer would like to see your portfolio, because he/she may not realize you have one.  Many SM's don't and (I could be wrong on this) but I don't think it's common knowledge that an SM might have one.

Just my thoughts.