CALLING: Backstage or Booth? (meta-topic)

[Ellen B.]

For one show that I worked on in a small theatre, my sound board op and I were seated in an upper row of the audience near the stage, with no separating wall.  I developed a system of writing her cues on index cards in a tiny binder.  I drew a box around each cue number to make it stand out.  I put my thumb down on the number for a standby and lifted it for "go".  This worked well and I was able to coordinate it with my own cues (I was also running lights).

[malewen]

Your instinct seems to be to call the show from backstage - so I would encourage you to follow it.  It's often best to trust your gut feelings rather than overthink the issue and then regret it later.  It sounds like you have the main ingredients for success in calling the show from backstage - a good view, a view over a CCTV system and just enough space.  The other issues to consider are how much activity needs to take place in the wing that you are planning on using - are there a lot of props that have to shift on/off from that side; are there a lot of quick costume changes there; what kind of headset system is in place and so on.  I think that the greatest advantage of calling from the wings is that you can really feel the running of the show in a way that you can't from an enclosed booth at the back of the house and where you listen to the show on a speaker.  It is easier to call the cues precisely from a rear house position but I think that you'll find that you can learn a way to call any cue properly from backstage too.  As others have said almost all  the giant Broadway musicals are called from backstage (and it probably is every one of them but as soon as I might say that someone will point out the exception).  Good luck!

[OldeWolf]

I've had the opportunity to call from a light booth on the mezzanine level above the house lobby, from a small desk in the DSL corner of the wing with view of the opposite wing, but not a lot of view of the stage, and most recently, from a table perched on the top of a 16' high scaffold parked in the orchestra pit at the apron of our procenium stage with my audience seated below me on the main stage with the set built around them in a 3/4 size representation of the Rose Theater. (We did Much Ado on a set full of stairs, doors, windows and eaves, as well as a little garden.) Without a doubt, my favorite was the scaffold with my sound board op sitting next to me on our 4x6' perch and our light board op on a level below us with seats less than four feet from her. It's amazing how quietly we were able to work. People I talked to after the shows hardly knew we were there. Once the house lights went out, they were so involved in the action they forgot about us. I loved being able to feel the audience respond to the actors.

When I call Dance presentations I've worked from the SM's table with a single deck hand on SR. It is my second choice, though I haven't had CCTV and had to rely on spotters on headset to call some shifts. I certainly prefer being able to see my entire stage for a play. Calling from the light booth in a moderate to large house has become my choice of last resort.     

Owen

[killerdana]

I enjoy calling from backstage.  However, if your cast isn't used to you being there, they may assume that they can come to you with questions or problems mid-show, just because you're there.  I generally remind them that only the ASM should speak to me, just as if I was up in the booth.  The phrase I like to use is, "Only talk to me if I'm on fire--not the theatre, but me personally."

[Mac Calder]

I disagree with that sentiment. I like the idea of being accessible to the cast whilst back stage, and can generally multi-task. I agree, that for most issues, via the ASM is the preferred method - after all, I am constantly using one ear to monitor cans, so why waste bandwidth on the other, listening to stuff that could be coming down the cans ear, however in emergencies, injuries etc, I always like first hand info, and I do not want to dissuade my cast from coming to me - provided they understand that making the show run smoothly is more important than Cassandra stealing your hair tie.

[liamproche]

Backstage is probably a good idea...........as long as you have clearcom headsets (never trust wireless, single-channel and all).  If you decide to go with the house though, it can be done; it just requires a little creativity. I've SM'd shows before, in blackbox setting, where there was no room for a backstage area.  It was intresting..........required a series of hand cues, flashcards, actual cue lights, and flahlights, to communicate between board operators and performers. Kind of fun now that I think back on it.  Either way is feasible.  It really just depends on which way you feel more comfortable (and how much you can trust your ASM's :-)....).  Good luck with whatever you decide.

[Matt.L]

I agree that backstage is the best option in your case, it sounds like a nice setup and you will be better place in case of a problem

[KC_SM_0807]

The theatre I work for is really old and historic (one of the first in the country, it was designed by the guy who designed the Ford Theatre) and I have found my own little niche! I call every show that I do here in.. are you guys ready... the house left opera box.  And I love it.  The opera box is never used in any show for some reason, and there are curtains that completely shield me from the audience. It's raised about 5 feet above the stage, and I have a perfect few of everything.  Everyone who works at the theatre knows that I will call there, so they fix me a little table with a light and comfy chair and all kinds of cool stuff to help me call the show. That way I don't get in anyone's way backstage (and no one can distract me), I have my own little area to watch the show and talk to everyone on headset, and I'm not fighting noise issues by sitting out in the house.  I also hate calling in booths because I feel so far away and disconnected from the show, and I like to be close just in case there are any emergencies.  In your case, i would definitely recommend calling from backstage.

[jempage]

I enjoy calling from backstage.  However, if your cast isn't used to you being there, they may assume that they can come to you with questions or problems mid-show, just because you're there.  I generally remind them that only the ASM should speak to me, just as if I was up in the booth.  The phrase I like to use is, "Only talk to me if I'm on fire--not the theatre, but me personally."

My policy when calling from backstage is similar to the one I use for cans - I don't mind my operators having a chat and a laugh during the show, but when I call a Warn or Standby, EVERYONE shuts up. In between the Warning-Standby-Go-Running, it just needs to be quiet.

A similar rule should apply when you are calling the show - actors/fellow techies should be discouraged from talking to you during a cue sequence.

Personally - I find that calling from backstage makes your actors much more relaxed, especially if you have good and professional operators in the booth.

[SFBaySM]

For my current production (opera - the magic flute) I have the option of calling the show from backstage w/a monitor or back of the house in the tech booth.  I have a while to decide yet, and it will probably depend on scenic elements (lots of moving pieces).  I've never called from backstage, except a handful of cues as ASM for things the SM couldn't see, but have called plenty from tech booths.

When you are given a choice, which do you prefer, and why?

[Mac Calder]

It's a question that comes up quite a bit. Here are some previous topics covering the issue:

Post 1
Post 2

[LisaEllis]

Although many factors can play into the decision...the venue, ease of equipment set up, physical space allowed...I'm going to go out on a limb and make a generalization.

In opera you usually call from backstage.  There would have to be serious issues to get me back into a booth instead of backstage.

I have called standing next to a boom with my book on an upended crate.  But I still had a stage shot and maestro vision, paging capability, and a speaker to enhance the orchestra sound.  (The video was built into the wall, my book was too heavy for a music stand, and the set barely fit into the theatre.)

If for some reason, paging and maestro video were only available in the booth...I would have to seriously consider....but if you have the flexibility, I always opt for backstage.  Just remember that the TD will have to put the calling position where you won't get run over by something!

Good luck with tech on this one...another consideration is where are your cue lites run from?  You'll probably need to call even rehearsals from there so you can get your fly cues on the right lites.  (Just knowing how Flute is, I'm guessing you'll have some fast transitions).  If you don't have cue lites, more power to you...

[Maribeth]

In opera I have always called from backstage. In theatre, usually from the booth. The primary reason for calling backstage in opera for me would be cueing entrances, but being close to the performers and the scene shifts is not a bad thing.....easier to solve problems.

[Rebbe]

If you have a choice as to where to call a show, consider how well you’ll be able to hear it, as well as the visibility and other issues. 

The only professional production I called from backstage was for a one-shot special event performance, with a few hours of rehearsal during the afternoon, during which I worked at a tech table in the house.  At the show that evening, I discovered that while the visual monitors were adequate, there weren’t any monitors for sound, and the heavy masking and curtain meant the speeches between performances (which I needed to Q off of) were barely audible from my position, even though the hosts were mic’ed and maybe 10 feet away from me.

You can have problems the other way, too.  I began an opening night performance without booth monitors working, and had to dash across the booth with my book to call the Q-heavy first scene leaning over the board op.’s shoulder, straining to hear the actors through an open window to the house.

Overall I prefer to call from the booth, where I can take in the big picture, but I’ve only had a choice about it on one occasion.

[LisaEllis]

Sound is why you ALWAYS have to have an audio monitor...but since the orchestra foldback to the stage is already set up, it's usually easy to have a little one run to the calling position.  Also great if it's adjustable...crank it way up when Maestro is giving notes during the orchestra rehearsals, and you can figure out when he/she is about to finish up and actually start the rehearsal.

But if the audio goes out, you have a better chance of hearing it from backstage, even with a big ol set...