CALLING: Backstage or Booth? (meta-topic)

[mhowson]

I called our last school musical (Honk!) from backstage for a couple reasons. Firstly, we did it at a theatre in the round, so the display on monitor was better than a booth display. Secondly, needed the Infrared for scene changes, which was available backstage but not in the booth. Thirdly, needed to have some kind of 'cast control influence' because we had some of the loudest cast ever.

Some cast members felt holding conversations and literally running around the 'runaround' area (directly under the seats, I should add), that we were certain audience would be able to hear them. Secondly, we had some younger students playing the ducklings, who, when they had some bread on stage on the third show (matinee) and it was a little bit stale, felt the need to share that new found information with me. By force feeding it while I attempted to continue cueing the show.

(They then, I should add, told me that I should sacrifice my lunch hour between matinee and evening show to buy new bread, to which I gave them a flat out 'No')

Despite all this, I'm seriously considering calling the next production from backstage. Why? In the next production, they're all sensible year 11s. Come year 7 drama festival, I'm in a booth.

[kmcooper09]

I have called the show from the booth and i hated-- i couldn't see the conductor soo i had to do black outs by ear which though they may not seem like it are then millisecs late and music cues are harder. I have to be backstage plus i feel disconnected from the show in the booth and if something goes wrong on stage im closer to it

[SMExtraordinaire]

I have called from backstage for the first 10 mins of the show, but I have a nice flat screen color monitor system where I could see the entire stage so it wasn't a huge issue (I was backstage because we were saving money on 1 tech member so someone needed to bring out the scrim). Anyway - if there were issues backstage I would sometimes stay back there, but I only had to call 5 cues because the show was on a midi track and just went by itself (ah corporate theatre).

The theatre I currently work for was discussing moving the SM backstage, but I pointed out that with all of the monitors we would need the SM would take up valuable space for set pieces, still couldn't get a clear view of everything even with monitors and would have a really hard time during safety sensitive change overs (as well as maintaining the vision for the show is harder because no matter how good your monitors are things are going to get missed as details are harder to make out). Also, SMs can get caught up in the drama backstage which becomes distracting when trying to call cues. It was also pointed out that the SM couldn't double as a tech for the show because they would have to stare at monitors and we would then have to hire a lightboard op (as the SM is the light op) so it really doesn't save money to move the SM backstage and it cuts down much needed space so - that thought was finally put out of everyone's mind. Thankfully.

[SMExtraordinaire]

I call from backstage because I'm the only person in my company (high school theatre) that is first aid/CPR certified and fire extinguisher trained. The actors also need someone that they'll listen to backstage for when they get rowdy. I like being able to solve problems myself when needed, and I find it easier to let an ASM call the show while I'm fixing a problem versus the other way around.

If you are tasked with keeping the vision of the show intact - how can you do that if you aren't watching the stage or making sure cues are called in the right place? I would think it would be easier if you make sure your actors are aware of the ASM's position and they take somewhat of the deck manager's role - this is the person of management backstage and you will listen to them. In a professional environment - that is pretty standard.

[SMExtraordinaire]

I certainly agree with that for a professional environment. In a high school one, however, the director that created the vision is always present and can help the SM with the vision. The actors can barely handle respecting my position, and would not be willing to listen to an ASM. (at my school the actors do not get a grade for their performances, so they are purely volunteers or their parents make them, so they have no "reason" to be well behaved).

Ah...understood. We didn't have SMs in high school so that is all new to me. I began the job in college and we had to treat as professional to prepare for the real world, but I can understand what you are saying.

[SMrose]

For me it depends on the show and on how good my ASM is.  I'll opt to call a large cast, complicated and multi-cue show from the deck.(This includes opera as one SM pointed out--making sure the singers are ready to go on 'cause in opera--it's a meltdown if they miss an entrance.) For a less complicated show with a few actors, I prefer the booth.  Some times (as in community theatre) the SM also runs lights, audio or both which are usually in the booth. In that case, your choice is made for you! On one show--done in arena staging--the set designer built me an "outhouse" which was located off to one side of the stage as that was the only place I could see the show from and be hidden from the audience!  I have learned in community and professional theatre to be flexible on calling positions.

[wheatwheat9]

house. i've never called from backstage even though we have a little pull out desk thing backstage.
the possition it's in is terrible and you can barely see the stage.

[MarcieA]

Maybe I've missed something, but we're taking about statistics here right? Not preference. I don't know what everyone else's situation is, but I call from where the booth is.

I've never been in a situation where I was able to choose or state a preference as to where I would be sitting to call a show. I've called from in the booth, in the house, backstage and currently, I call the show from the balcony, right next to the door that leads to it.

[JDL]

house. i've never called from backstage even though we have a little pull out desk thing backstage.
the possition it's in is terrible and you can barely see the stage.

Yes!!! I can't call from backstage! Period.

[Jessie_K]

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?

Maybe I've missed something, but we're taking about statistics here right? Not preference. I don't know what everyone else's situation is, but I call from where the booth is.

I've never been in a situation where I was able to choose or state a preference as to where I would be sitting to call a show. I've called from in the booth, in the house, backstage and currently, I call the show from the balcony, right next to the door that leads to it.

Original post quoted above.  We are speaking preferences, I guess.

I can't believe I didn't chime in before.  For the most part, I prefer calling from backstage because it is closer to the action.  I usually do not sit down through the whole show, but will walk away from the desk (with calling pages) to see things if I don't have a monitor.  Though sometimes visibility can be limited, I consider it a small sacrifice to make. 

However, when I am the SM responsible for maintaining the show, I prefer to call from the booth.  That way I can better do the note-taking portion of my job.

I must also say that a huge part of my SM experience is in dance which is traditionally called from backstage.

[Baz]

Reading all this one wonders how shows were possibly mounted, called and notes given by SMs prior to, say, the mid-70s when it became fashionable to shift SMs to a booth.

Obviously theatre, opera, ballet and like were produced in a artistic and supervisory void previously. Who knew?

 

[GH]

Personally I'd always call from backstage,  I've never had the choice but if i did i'd do backstage.  I'm confident in the sound and light techs and if there are any issues i know the boards better than the ones actually working at them and i can tell them what to do over a headset, which is another reason why backstage works i'm not sure how many theatres have headsets so the technicians can communicate.  But being backstage I think is much better because, like i said the booth is easy to run off headset, and more problems arise backstage you can deal with things immediatly,  I do have an amazing ASM but having two people back there it is easier to deal with the actors that are annoying.  Also i'm a high school SM so it all depends on how many of your fellow class mates you can get into the show to help with tech.  Many times you don't have anyone able to run the fly rail.  So i kinda do a double job in there.  so overall i'd say backstage always

[SMExtraordinaire]

Reading all this one wonders how shows were possibly mounted, called and notes given by SMs prior to, say, the mid-70s when it became fashionable to shift SMs to a booth.

Obviously theatre, opera, ballet and like were produced in a artistic and supervisory void previously. Who knew?

 

But you have to admit that a lot has changed since then. The role of Stage Manager (specifically in theatre - though I haven't worked opera or "official" ballet so I can't speak on those) has expanded and with the communication systems now available there is more leeway for the Stage Manager. The SM has added responsibilities.

And on a completely separate note that is irrelevant to this conversation, but relevant to how much theatre has changed from that point - women now out number men in Stage Management when that was not the case 30 years ago.

Technology and the times change - job changes.

[Baz]

But you have to admit that a lot has changed since then. The role of Stage Manager (specifically in theatre - though I haven't worked opera or "official" ballet so I can't speak on those) has expanded and with the communication systems now available there is more leeway for the Stage Manager. The SM has added responsibilities.

And on a completely separate note that is irrelevant to this conversation, but relevant to how much theatre has changed from that point - women now out number men in Stage Management when that was not the case 30 years ago.

Technology and the times change - job changes.

I dunno...

Short of the occasional chandelier crashing down, helicopter landing on the stage or massive elevator revolve, I'm not seeing 'a lot has changed' in regards to what a SM's calling responsibilities are.
As for the job itself, I will admit things have changed and responsibilities shifted, and I'm not sure that has always been A Good Thing.
Much depends on the Company involved, but to my mind, I'm afraid I'm seeing more often the position of SM to be a whole less artistic/production-centric. Keep up with the paperwork - but a solid artistic expertise (useful once for giving notes to actors - and they accepting them) or production knowledge (if only to understand the needs from Designers or the PM and TD) is often less expected - or desired.

This odd bend towards the secretarial (sorry, administrative) may also explain why there are fewer male SMs now - however un-PC that might be to imply.

Meanwhile, there's a lot of SMs out there now calling shows via an audio tick track or stopwatch rather than having 'learned' the show and being one with the Company and the audience - and that's how Managements want it. One wonders how long it will be at this rate before SMs become redundant in calling a show - a computer program will 'read' the script, following along with voice recognition and visual cues by camera, giving Qs to the computerized lighting, sound and flies as noted in the script. This would imply a SM would have more time to watch the show for notes, but more likely, the expectation is that we'll be there to simply override an errant computer. And for that, you could be anywhere....

Sorry. I really digressed.


Again, I've called from both onstage and the booth - and while I recognize the benefit from seeing the production as the audience does, I believe the distances (and often sealed environment) of the booth often places the SM at a disadvantage from the event onstage and audience reaction. And regardless of how much 'technology and times change', that's still the reason we're there.

[SM19]

One wonders how long it will be at this rate before SMs become redundant in calling a show - a computer program will 'read' the script, following along with voice recognition and visual cues by camera, giving Qs to the computerized lighting, sound and flies as noted in the script. This would imply a SM would have more time to watch the show for notes, but more likely, the expectation is that we'll be there to simply override an errant computer. And for that, you could be anywhere....

OMG...does anyone see how disasterous that would be? *shudders*

I can't see that happening for a long time though...but when it does... that's the day i'm going to leave the business and ask them when acting onstage will become computerized too! The problem with that is actors aren't always accurate...so if the SM needs to see the smallest cue, and the actor does the same thing in another part of the show...that will totally mess everything up and then someone will have to override it or fix it...or something. Too complicated.

I dont think I'd ever call from anywhere but backstage. But, I've only done it backstage myself. So I have no booth experience. From the productions that I've called, my crews haven't been totally reliable to the point where I'd trust them to be back there, doing their jobs alone or out of my view (but I'm also...I wouldn't say controlling, but wanting to know what's going on at all times). I know SM's aren't suppose to move, but I do. It was impossible for me not to move last year because I didn't have an ASM to help me so I didn't have a choice. But I like moving. I think it better ensures the success of some things back stage. But you also have to know the cues off by heart, and know when you can and cannot leave your station.