16
Introductions / Re: Hello!
« on: Feb 04, 2015, 09:23 pm »
Howdy!!! Welcome to the forum. I hope you find what you're looking for here, and break a leg with your first rehearsal tomorrow! I'm sure you'll do swell. 
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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17
Students and Novice Stage Managers / Re: First Day of Rehearsal Question?
« on: Feb 04, 2015, 09:22 pm »
I always like to hit on a few things; when I'm in academic settings or working with interns, I try not to assume that they're overly familiar with the process.
I like to hit on
[/list]
Those are the big points I usually hit on.
I'd also be careful how you phrase 'let me know if you're going to be late', as it may make it sound like it's acceptable. I like to remind them they are expected to be here and warmed up at the start of each rehearsal, and of any relevant attendance policy, but if something should come up, that I should always be their first call.
I like to hit on
- Keeping the space clean
- Attendance policy
- Scheduling
- Communication
- Captains and Deputies
[/list]
Those are the big points I usually hit on.
I'd also be careful how you phrase 'let me know if you're going to be late', as it may make it sound like it's acceptable. I like to remind them they are expected to be here and warmed up at the start of each rehearsal, and of any relevant attendance policy, but if something should come up, that I should always be their first call.
19
Homework Help / Re: (Homework [Help) Me!]
« on: Feb 01, 2015, 11:42 pm »
So, interesting point here; I suppose this really depends on the kind of organization or company you're working for, but let me give my two cents from a corporate perspective.
This kind of situation is more likely to arise in a corporate setting. The last few year I found myself working for a large corporation, and the cast mainly consisted of 16-22 year old kids who were working there as their first job. Naturally, some of these kids didn't know how to handle themselves outside the protected academic environment, so teen drama ran rampant.
Anytime you have an inkling of something like this going on, you want to get it OFF your plate. If anyone comes to you in any aspect to inform you that they're uncomfortable because of another employee you immediately tell Human Resources. That's what they are there for. 9 times out of 10 HR will resolve the situation. I've seen them terminate and escort employees off property within five minutes in these situations; they do take it seriously.
Now, in an academic setting, or a freelance setting, I'd apply the same principle. If it comes to you, get it off your plate. You weren't hired to handle these kinds of issues, especially when it comes to minors. I would call the highest person you can immediately if it involves minors an sexual harassment or child abuse. Whether that is the Producer, President of the Board; jump as high as you can in the chain of command.
Your job is to ensure the well-being of your cast within reason. Never be afraid to admit something is over your pay grade and get the Producer and the authorities involved.
This kind of situation is more likely to arise in a corporate setting. The last few year I found myself working for a large corporation, and the cast mainly consisted of 16-22 year old kids who were working there as their first job. Naturally, some of these kids didn't know how to handle themselves outside the protected academic environment, so teen drama ran rampant.
Anytime you have an inkling of something like this going on, you want to get it OFF your plate. If anyone comes to you in any aspect to inform you that they're uncomfortable because of another employee you immediately tell Human Resources. That's what they are there for. 9 times out of 10 HR will resolve the situation. I've seen them terminate and escort employees off property within five minutes in these situations; they do take it seriously.
Now, in an academic setting, or a freelance setting, I'd apply the same principle. If it comes to you, get it off your plate. You weren't hired to handle these kinds of issues, especially when it comes to minors. I would call the highest person you can immediately if it involves minors an sexual harassment or child abuse. Whether that is the Producer, President of the Board; jump as high as you can in the chain of command.
Your job is to ensure the well-being of your cast within reason. Never be afraid to admit something is over your pay grade and get the Producer and the authorities involved.
20
Stage Management: Plays & Musicals / Re: FORMS: Performance Report Attendance Listing
« on: Jan 27, 2015, 01:30 am »
It really does depend on upper management.
One company I worked for required that I listed the entire cast and crew at the end of every report. It was in a corporate setting, so the cast and crew were always changing; ie, there may be 5 people trained for a performer track or crew track.
When I'm freelancing, I will only note any changes from the regular tracks. I have a small attendance section where I enter it at the top of every report. It will usually just note 'Regina George IN for Mary'.
One show I worked on was a bit more complex; the principle roles had US, who were minor roles, and each US had a US for that minor role, who was in the chorus. The chorus had 2 swings to cover tracks, and would reblock as needed pending on who was out. For this, I had a daily IN/OUT sheet that I used. It would list who was in or out, who was playing what role, and which 'reblock track' we were in. It was basically a cast list with the names rearranged every day. The choreographer had decided how the chorus should adjust and cover for missing members, so essentially we had a handful of versions of the show. So the chorus would know that we were in a 15 dancer reblock and would know how to adjust accordingly. I would not recommend this system, as it got to be a lot of paperwork.
I did, however love using the daily IN/OUT sheet, as it was a breeze to pin it up and let it be, and could easily be referenced later. If you'd like, I can send you the template that I used for this.
One company I worked for required that I listed the entire cast and crew at the end of every report. It was in a corporate setting, so the cast and crew were always changing; ie, there may be 5 people trained for a performer track or crew track.
When I'm freelancing, I will only note any changes from the regular tracks. I have a small attendance section where I enter it at the top of every report. It will usually just note 'Regina George IN for Mary'.
One show I worked on was a bit more complex; the principle roles had US, who were minor roles, and each US had a US for that minor role, who was in the chorus. The chorus had 2 swings to cover tracks, and would reblock as needed pending on who was out. For this, I had a daily IN/OUT sheet that I used. It would list who was in or out, who was playing what role, and which 'reblock track' we were in. It was basically a cast list with the names rearranged every day. The choreographer had decided how the chorus should adjust and cover for missing members, so essentially we had a handful of versions of the show. So the chorus would know that we were in a 15 dancer reblock and would know how to adjust accordingly. I would not recommend this system, as it got to be a lot of paperwork.
I did, however love using the daily IN/OUT sheet, as it was a breeze to pin it up and let it be, and could easily be referenced later. If you'd like, I can send you the template that I used for this.
21
Tools of the Trade / Re: Ergonomics and the Tech Table
« on: Jan 19, 2015, 07:55 am »
So, I wanted to toss this in on the thread too.
I was recently talking to one of my SM friends, and they had mentioned that they always tried to call shows standing. She claimed that standing not only helped keep her focus, but that she didn't get tired of standing if her attention was elsewhere, like calling the show. Her claim was that if she was just doing paperwork, eventually, she'd get bored with standing and sit down, but when focused on the show, she didn't.
Thoughts on this? How do you call a show? Sitting or standing? I suppose it also depends on whether you call from the booth or backstage.
I was recently talking to one of my SM friends, and they had mentioned that they always tried to call shows standing. She claimed that standing not only helped keep her focus, but that she didn't get tired of standing if her attention was elsewhere, like calling the show. Her claim was that if she was just doing paperwork, eventually, she'd get bored with standing and sit down, but when focused on the show, she didn't.
Thoughts on this? How do you call a show? Sitting or standing? I suppose it also depends on whether you call from the booth or backstage.
22
Introductions / Re: Stage Managers are stellar, okay.
« on: Jan 13, 2015, 02:48 pm »
Welcome, friend!
23
Students and Novice Stage Managers / Re: Email signature
« on: Jan 06, 2015, 07:49 pm »
I'll also note (on a related topic) that I've recently been obsessing over using Gmail's 'Canned Responses' feature to have several signatures saved for my gmail address. It's been a lifesaver.
I can't believe I didn't do that. I feel foolish.
I've only done this with one show, but I set up an auto-forward for any emails that come in to that address to come to my regular account, and also a vacation reminder that says basically "Hey I don't check this email anymore please contact me via my personal email at blah @gmail.com"
I can't believe I didn't do that. I feel foolish.
24
Students and Novice Stage Managers / Re: Email signature
« on: Jan 06, 2015, 06:45 pm »For full productions, I have a separate email for every show.
showtitle.psm@gmail.com (sample)
so, customize email signature based on the show.
this allows me to keep my shows (and life) separate.
I've always had problems with this. I did have separate emails for a few shows, but I would discover that every once in a while I'd get an email in one of them from an old AD or so-and-so that worked on the show wanting to know if I was free for another gig.
Since I don't check all of them anymore, I didn't want to risk a job or contact coming through that I missed, so I stick to one email account.
25
Students and Novice Stage Managers / Re: Dear Abby: Gay students in the dressing room
« on: Oct 27, 2014, 05:30 pm »
So, I read this a long time ago, and it's bothered me ever since.
I talked about it with some SM friends, and I wanted to bring out a point.
Working corporate theatre with kids aged 16-25, I've noticed that (since it's corporate), we have to be very strict with who can use what space to change in.
There is no exception to the rules put out for us, as the company is publicly shared with thousands of employees, so it has a huge HR department.
We actually have a transgender performer, who though legally is a male, is a female in every other way.
She shares a dressing room with everyone else, but when she goes to change, she uses the female restroom, and does so in a stall. She was not asked to do this, but does so on her own.
I know this is a bit of a tangent, but the point I wanted to make is that most transgender people are very aware (to say the least) of these issues, and have encountered every awkward situation imaginable. They are usually great about taking it on themselves to make sure they are not going to raise a fuss with other performers or HR. Early on, the idea of having a trans female was scary for all of the Stage Managers, because we weren't sure on how to deal with it. We quickly discovered that it was in fact a non-issue. She took it upon herself to making changing a private matter, and in fact, it's been the biggest non-issue of the season.
My point is this; if you have a transgender performer, and you're unsure as to how to handle it, ask them. They'll appreciate that you don't make assumptions and chances are will have been through similar situations before and happy to help.
I talked about it with some SM friends, and I wanted to bring out a point.
Working corporate theatre with kids aged 16-25, I've noticed that (since it's corporate), we have to be very strict with who can use what space to change in.
There is no exception to the rules put out for us, as the company is publicly shared with thousands of employees, so it has a huge HR department.
We actually have a transgender performer, who though legally is a male, is a female in every other way.
She shares a dressing room with everyone else, but when she goes to change, she uses the female restroom, and does so in a stall. She was not asked to do this, but does so on her own.
I know this is a bit of a tangent, but the point I wanted to make is that most transgender people are very aware (to say the least) of these issues, and have encountered every awkward situation imaginable. They are usually great about taking it on themselves to make sure they are not going to raise a fuss with other performers or HR. Early on, the idea of having a trans female was scary for all of the Stage Managers, because we weren't sure on how to deal with it. We quickly discovered that it was in fact a non-issue. She took it upon herself to making changing a private matter, and in fact, it's been the biggest non-issue of the season.
My point is this; if you have a transgender performer, and you're unsure as to how to handle it, ask them. They'll appreciate that you don't make assumptions and chances are will have been through similar situations before and happy to help.
26
Tools of the Trade / Re: Use of lighter on stage
« on: Sep 29, 2014, 05:55 pm »
Could the LED always be on and the actor could mask it with his hand once he opens the top?
If you don't get your answer here, I'd check over with the guys at Control Booth. The forum has lots of really tech-savvy people.
http://www.controlbooth.com/
If you don't get your answer here, I'd check over with the guys at Control Booth. The forum has lots of really tech-savvy people.
http://www.controlbooth.com/
27
Students and Novice Stage Managers / Re: SM tumblr
« on: Sep 29, 2014, 05:51 pm »
Great link! Thanks for sharing!
28
Stage Management: Plays & Musicals / Re: PRODUCING: Structure for Summerstock Filing and Remounts
« on: Jul 06, 2014, 10:35 am »
I hadn't thought of creating an Official SM handbook....that's a really great idea!
Maribeth-we don't have a PM here, so the PSM tends to take on those tasks too, so it's for the future SMs.
Maribeth-we don't have a PM here, so the PSM tends to take on those tasks too, so it's for the future SMs.
29
Stage Management: Plays & Musicals / PRODUCING: Structure for Summerstock Filing and Remounts
« on: Jul 02, 2014, 11:39 am »
Hello all,
To make a long story short, I'm working at a summer stock that doesn't have a PM, so I've been taking on some PM responsibilities.
We have a copious amount of filing cabinets in the booth, and when I arrived, there was nothing in them, and it was hard for me to create a schedule and a base for things because there was nothing to go off of, and just about everyone here was new.
SO, I'd like to set up a system so that PSMs here in the future can look back and see how the schedule was structured, and documentation for past years.
Aside from leaving my prompt books in the cabinets at the end of the season, I've also set aside folders for this season's performance reports, and an attendance folder, which will contain the sign in sheets and an end-of season attendance report.
My hope is that PSMs here in the future can compare the Daily Calls with the many versions of the full production calendar, and the attendance reports, so that they can see how we worked out the rehearsal process, the promo events, and the other shows in the other space.
Any thoughts on things that I should leave to be filed? Or other ways to allow future PSMs to access my books and notes?
Just wondering what this looked like for you guys and what tips you had.
Edited to add topic tag- Maribeth
To make a long story short, I'm working at a summer stock that doesn't have a PM, so I've been taking on some PM responsibilities.
We have a copious amount of filing cabinets in the booth, and when I arrived, there was nothing in them, and it was hard for me to create a schedule and a base for things because there was nothing to go off of, and just about everyone here was new.
SO, I'd like to set up a system so that PSMs here in the future can look back and see how the schedule was structured, and documentation for past years.
Aside from leaving my prompt books in the cabinets at the end of the season, I've also set aside folders for this season's performance reports, and an attendance folder, which will contain the sign in sheets and an end-of season attendance report.
My hope is that PSMs here in the future can compare the Daily Calls with the many versions of the full production calendar, and the attendance reports, so that they can see how we worked out the rehearsal process, the promo events, and the other shows in the other space.
Any thoughts on things that I should leave to be filed? Or other ways to allow future PSMs to access my books and notes?
Just wondering what this looked like for you guys and what tips you had.
Edited to add topic tag- Maribeth
30
Tools of the Trade / Re: Social Media and Self Promotion
« on: Mar 30, 2014, 11:58 pm »
On a related note, how do you all feel about vlogging?
I'd love to give it a go, and I figure so long as I don't speak about work at all, or doing anything unemployable [like drinking or irresponsible stunts] it would be okay.
Thoughts?
I'd love to give it a go, and I figure so long as I don't speak about work at all, or doing anything unemployable [like drinking or irresponsible stunts] it would be okay.
Thoughts?