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I worked for a company that did this every summer. What worked best for us was:

    -Having the deck painted a motif that works for all productions (usually it was wide "floor boards" and sometimes a toned down Jackson potluck style lol--always some shade of brown, cause that's what worked for our shows).

    -Each show had it's own spike color, using as minimal spikes as possible.

    -Each colored spike was covered with clear Marley tape (if there isn't dancing or busy foot work in the show than clear packaging tape would work in a pinch, temporarily).

    -During changeovers, one person went through and covered the previous shows spikes with brown gaff tape and wrote the show number on it. And then tore the brown gaff off that next shows spikes (obviously, make a spike chart to double check).

-All immovable scenic elements were "spiked" with a sharpie or paint pen. Didn't need to cover any of these by show because they weren't noticeable from offstage in our venue.

This routine works for our team for many summers with 3-5 shows in the same space in rep.
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Depends on how many scene changes there are - and how critical placement is. If you can get away with not spiking - don't. Some shows it doesn't matter if everything is precisely placed. Colours are good - but you don't want your floor to look like a jackson pollock painting. If you have moving head lights in the rig, lighting can give you spikes if you are setting pre-show or behind a cloth/scenic piece.
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Looking at 4 shows sharing the same stage floor in rep this summer with minimal time between performances of different shows (i.e. matinee to evening show). Currently pondering spiking furniture, props, etc. My first thought is just to assign specific colors to specific shows. Was wondering if the hive mind had any other options?

Thanks!
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Rocky Horror Picture Show  I have a cutdown but they will be inserting parts of the original back in, and I need a whole one. Is anyone willing to share?
Thanks
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Introductions / Re: Semi-Retired SM But Still Teaching!
« Last post by Maribeth on Mar 06, 2021, 10:18 am »
Welcome, Jackie!
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Kennedy Center Theater for Young Audiences is holding virtual open call interviews, and there are dedicated times for DC-area stage managers, ASMs, and production assistants. These interviews are not for any specific positions in our upcoming season, but we'd love to get to know you for future stage management needs. Please note that most of our productions (other than tours) are local to Washington, DC.

More information can be found on the website, including how to request access accommodations and how to request a time slot. Stage managers should include a resume - no headshot needed.

Please email kctya@kennedy-center.org with questions - do not send PMs. Thanks!
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Introductions / Re: Semi-Retired SM But Still Teaching!
« Last post by RuthNY on Mar 01, 2021, 10:33 am »
Welcome!!
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Introductions / Semi-Retired SM But Still Teaching!
« Last post by JackieCCPA on Feb 28, 2021, 01:06 pm »
Hello out there in SM Network Land.
I'm a Semi-Retired (meaning I don't SM professionally anymore) "Recovering SM" who spent half my career in Opera. Have also worked in Musical Theatre, a bit of Dance and as an Entertainment Technician / SM on Cruise Ships. I have a bit of Film and TV experience as an Assistant Director (1st AD), On Set Props, Locations Manager and Set Dec. I teach Stage Management at the College level and am the FOH Manager for two large historic Civic Theatres. I've joined the SM Network to support my Students, but am always happy to answer questions or engage in dialogue.

Best,
Jackie A.
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Uploaded Forms / Re: Reports and minutes (Performance, Rehearsal, meetings)
« Last post by VSM on Feb 18, 2021, 01:11 pm »
I get the same message.
I am using a MacBook Pro - iOS 11.2.1
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Tools of the Trade / Software: Diese
« Last post by Jonas_A on Feb 17, 2021, 06:07 pm »
I've been chatting with some colleagues who are exploring a move from ArtsVision (www.artsvision.net) to Diese (www.diesesoftware.com) - does anyone have any experience with the latter? We're both large professional orchestras with complex planning and production processes, so keen to hear from anyone who has used them in a similar scenario.
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