Author Topic: Training  (Read 3904 times)

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DCPSM2012

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Training
« on: Jun 04, 2012, 04:49 am »
Hi.

As the closest thing to a "production stage manager" one can become in this small-town high school, I've been charged with the task of training my Assistant Stage Managers in how things run and how to keep your head during a show.

The last three kids I've trained have left ducking for cover, even those who hit the ground running have had a hard time picking it up. Next season, in theory, I'll have two new ASM's to train.

I suppose my question is, What can I do to teach them?

With the last three, I stressed the importance of being on time, writing the date on EVERYTHING, writing everything down, keeping a complete contact sheet, being early to rehearsals, knowing where everything and everyone is all the time, etc., etc.... And while they all picked up bits and pieces, none of them seem to really grasp the concept of stage management, even on a small scale.

For instance, the boy who ran stage right (where our flyrail is located) burst into tears at the drop of a hat, never had the correct paperwork, and was constantly lost during rehearsals. Whereas the girl who ran stage left (where most of the scenery went on and offstage) was often nowhere to be found, and never responded to headset calls.

I don't quite understand.  I'm certainly not perfect, and in many ways I've simply gotten lucky. However, if anyone has any suggestions as to what I may be doing incorrectly, what I may correct, they would be much appreciated. What do I need to look for in an ASM? Am I simply expecting too much? I'm aware that this is all rather vague, but I would very much appreciate the help.

Thank You
~S
"You can grow old, but please, please, never grow up. Not all the way."

Bwoodbury

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Re: Training
« Reply #1 on: Jun 04, 2012, 02:46 pm »
If possible, I'd recommend  having your potential ASMs read a book or two about stage management (there are a ton of recs on the boards for good ones) over the summer. That way they have some time to wrap their heads around what the SM team is responsible for during the course of the show.

I went through a number of ASMs in high school and sometimes it's hard to find someone who is willing to drop everything for a show in high school. If you can find someone who is committed to the production, you are often able to get someone to do what they need to do by explaining the benefit to the production. i.e. having the right paperwork allows you to help the crew be in the right place at the right time, or being on comm allows you to fix any problems that might come up quickly and without the audience knowing.

G.Miciak

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Re: Training
« Reply #2 on: Jun 06, 2012, 10:33 pm »
I guess I have a few responses to this.

First, you have to look at who you are asking to ASM. Anyone can learn to ASM, but if you aren't getting people that have the right temperament for the job, it will take much longer to get them to function at the level you are asking for.

You also have to make sure that you (and they) have reasonable expectations. If you have a new ASM on the show, explain to them the parts of the process and where things might break down. (For example, I always tell new SMs that the first hour of Q2Q will be spent only the first sequence. When they know this ahead of time, they don't panic about their time in Q2Q.) In the same way, tell your ASM that the move to the stage, etc. will be stressful. When they expect it, they will function better.

You also have to start small. Instead of asking them to know where everyone and everything is at all times, ask them to only mark down entrances and exits. If you think they can handle more, ask them to track props also. This means you have to fill in the holes, and it leaves you with taking down blocking, tracking costumes and prompting. It may or may not be a lot, but at least you have practice doing all of those things at once. If the ASM is overwhelmed, they won't do anything well, so give them bite size chunks. (Give them paperwork templates or just do the paperwork yourself if you have to.)

Finally, you have to monitor your ASM. If the scene has stopped and they haven't gotten up to reset, tell them "Now is the time". Observe how they interact with the cast and creative team, and coach them. Someone that is new to this job won't realize (here comes the personal opinion) that this is a service industry, and we do things for the team because we want them to feel safe. (I believe that if we take care of the little things, they will trust us to take care of the big things.) Anyway, you have to be in very close contact with your ASM and judge what you should or shouldn't ask them to do.

Rebbe

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Re: Training
« Reply #3 on: Jun 07, 2012, 04:21 pm »
It might be helpful to ask your former ASMs for feedback on what was helpful from their training, and what could have been better as far as preparing and supporting them in their roles.  If it was simply lack of interest, or trouble handling stress, that’s a different problem then finding that they don’t know SL from SR, and would give you some ideas for future training.  Also, do you remember things that were helpful when you first learned to ASM?

Along the lines of what Gil said, the ASMs might be more successful with a more contained sphere of influence; asking them to track props, set pieces, costumes, etc for just their side of the stage, and give them templates or a format for doing so (you can find some here in Uploaded Forms).  Giving them examples of running paper that they can reference might help them catch on better than simply asking them to "write everything down"; that request could feel overwhelming.  If they are in rehearsals with you, you can give each one ownership of specific things (maybe one sets props, another checks attendance) so they have tasks to give their attention to, and get a sense of the flow of the show and level of detail involved backstage.
"...allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster."  (Philip Henslowe, Shakespeare In Love)