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September 7, 2010

Pre-Production Progress

I call this: On the Road Again,theatre — Posted by KP @ 10:03 pm

This sticky post tracks what I’m currently working on for The Acting Company’s 2010-2011 national tour, set to begin rehearsals September 27th.

Days till first rehearsal: 20

Currently working on: just tidying up my files & notes while watching TV before bed

Upcoming projects:
Clean up last year’s R&J script
Put contacts in address book
More database work

Recently Finished:
putting performances / cities / travel into Google Calendar
Contact sheet (still have questions)
Entry of performances & venues into database


September 4, 2010

Cross-Platform Stage Management

I call this: On the Road Again,mac,pc,theatre — Posted by KP @ 7:16 pm


This tour is going to be something of an experiment, and an opportunity for new stage management technical discoveries, as I have an ASM who uses Windows — I know!

Contrary to popular belief, I will actually choose ASMs who use Windows. And the people I most often assist use Windows, so I’m used to the cross-platform thing, although it’s been a while since I’ve been the PSM in that case and had to decide what software to use for the show. So I had no reservations about Meaghan not being a Mac user. I knew she was a PC user when we worked together two years ago, but I couldn’t remember if she had since switched, and I didn’t ask until this week when I was trying to nail down what software I’m going to use for the tour. Well she has a PC, but she assures me she has an iPhone, which is comforting somehow, and is an advantage I never had with Nick and his cursed-trackball Blackberry.

In day-to-day life I don’t find the OS to make that much of a difference. There were a couple events over the course of two years on tour where I remember saying to Nick, “thank God you have a Mac, or we’d be screwed!” but those were situations where we were already screwed and managed to avoid further screwing. Which is good. But those situations are rare, and if you are lucky enough not to be screwed in the first place, then you have nothing to worry about. The big one I remember was when my computer just up-and-died one day, an hour before the show. I was able to install all the software I needed on Nick’s and carry on. It was great, but in reality if that happened again, especially in the more cloud-based world we have now two years later, most things would be fine on a PC, and if I really needed a Mac, there will be like 15 more of them on tour and I could borrow somebody else’s to get what I need converted into PC-friendly form. But those kind of contingency plans will be part of the decisions I make when setting up our digital world.

The first of which is that there needs to be a backup of all our critical files on a drive formatted for FAT32. My backup drive, which uses Time Machine, is formatted for HFS+, which is the format required for Mac-bootable drives. I think I may keep all our files and installers on an 8GB thumb drive that I just purchased. Our show files are on DropBox so we both have access to them, so that’s a pretty good backup right there, but it might be smart to have an offline copy as well. I’ll probably keep that backed up every day or two.

I also have Windows running on my Mac (both natively, and alongside Mac OS using Parallels), which might come in handy if we need to share something in a Windows-only way. I was still using XP for compatibility with older games, and out of cheapness, but when I had the money, wanted to buy Windows 7. I would hate to find us in a situation where we can’t share something because I was still on XP, so I started to think of it as a business necessity to invest in the upgrade at this point. So I just installed Windows 7, and it seems to run well on my machine so far. Maybe this whole collaboration will help me to educate myself on changes in the Windows world that I’ve glossed over since I switched to Mac in 2002. That would be helpful, cause I sell myself as a computer geek stage manager, and if you sat me down in front of a machine with Vista or Windows 7 I don’t think I’d be much of a geek, and at this point it’s starting to feel like false advertising.

Meaghan and I are now pretty much caught up as far as being set up with all the software we’ll be using. Here’s what we’ve got:

  • FileMaker Most of the actual paperwork for the show will go in my database. Thankfully FileMaker is cross-platform, so we should have no problem with that. When at work, we will work off the master copy served from my computer, but I have recently added a feature to upload a copy of it to DropBox, so if she needs to reference the information inside when away from the theatre it will be in the cloud. Plus we could both access it from our iPhones if we wanted. If she was going to do some homework of her own, she would have a copy to work in, as long as I know not to be making changes at the same time on my copy, and to make the Dropbox file the master after she’s done. Nick and I sent the file back and forth over email sometimes, but this way should be a little cleaner.
  • DropBox This summer I started using DropBox as an alternative to MobileMe’s iDisk. The main difference between the two is that DropBox works. It works well enough that I could put my folder for each show on my DropBox and trust it not to get corrupted or out of sync. After three shows using that method, I’m now taking it a step further: I’m sharing that folder with Meaghan, so we will both be able to work off the same files.
  • Evernote For more on Evernote, you can see my first impressions post. I’m storing a bunch of stuff on Evernote, everything from the show logos to essential emails from office staff, to my shopping list for Staples. Meaghan can then check it to see all the information I have, and when we’re actually working she can add notes to my notebook for the tour with information and paperwork that she generates. I’m hoping between this and DropBox, we’ll never have to worry about me forgetting to pass on a file to her.
  • Microsoft Office Obviously. I don’t create all that many Office files, but it’s always necessary at some point. Our script will be the biggest one, and changes will be tracked throughout the rehearsal process.
  • Skype It may come in handy from time-to-time, but what I really intend to use it for is to teach the database before we start rehearsal. Meaghan only arrives in New York the day before we start, so using screen sharing will have to do.

In addition to getting us set up for rehearsal, I’ve been trying to make Windows a little more hospitable for my own use. The problem I have when gaming is that I become completely useless for anything else, because in order to access, well, anything, I have to reboot into OSX. The use of all these cloud-based, cross-platform tools has made it much easier to spend hours and hours in Windows without being prevented from doing anything else. The one major element I’m missing is OmniFocus, which is cloud-based, but only compatible with Mac and iPhone. However, the act of creating or checking off a task is so quick and simple that doing it on my phone is almost as fast as doing it on the desktop. Overall I’m excited to play with some new ways to organize.


August 29, 2010

So You’re Going on Tour

I call this: On the Road Again,theatre — Posted by KP @ 11:50 pm

I guess this is the first edition of Season 3 of “On The Road Again.” Click that picture at the top to see all the posts in this series. It follows my progress on tour with The Acting Company. This year we’ll be remounting Romeo and Juliet and rehearsing a new production of The Comedy of Errors. The tour will exist in two phases. First we’ll rehearse R&J at New 42nd Street Studios in New York, which is an awesome place to work, and conveniently allows me to live at home through production. We’ll tech R&J here in New York at Pace University (where Nick worked this summer and says it’s nice). Then we take it on tour, focusing on the west coast, where we didn’t really spend any time last year. After almost a month of that, we return to the Guthrie in Minneapolis, where we go into rehearsal for Comedy. Then we open Comedy at the Guthrie. During the tail end of that run, we will start playing in rep with R&J. For the rest of the tour we’ll play both shows in rep, until we end our run back in New York in mid-April.

So that’s what lies in store this year. The big news is that I’ve created a big page on the site called So You’re Going on Tour, in which I describe everything that I take with me on tour and why. As much as I love you, my anonymous readers, I’m also doing it for a more practical reason: I have a new ASM, the awesome Meaghan, who you heard a bit about during Season 1 of “On the Road Again” (before it was called that, cause there was no “again”). Meaghan was our indispensable stage management intern at the Guthrie during the first year there. With Nick getting married this coming year, and being all grown up and stuff, he’s not going on tour. Meaghan has been the heir apparent for a long time, and I’m really excited that it worked out for her to do the job. She’s also getting her Equity card, which I’m totally psyched about. I like it when the business works like it’s supposed to: you start out small and prove that you’re capable of better things, and you will be rewarded with better jobs.

Anyway, this is Meaghan’s first tour, so naturally like all good stage managers should, her first reaction to getting the job was to head over to HeadsetChatter and read up on what she should be prepared for! The only thing is, while I’ve done some posts about how I’m preparing or what I’m packing, there was no definitive place on the site that says “these are the things you need on tour.” Until now.

I just got home from the summer season, and we start rehearsal in a little less than a month. Meaghan and I exchanged some emails today, and I’m starting to seriously pull together the information I need. So stay tuned for another busy season!


August 19, 2010

Pilot: Company Puppy

I call this: summer stock,theatre — Posted by KP @ 7:32 pm

While hanging out on the dock with the crew, and our lovable company puppy, Pilot, I was asked why I haven’t blogged about Pilot.

Well the truth is, I thought he was a little too similar to Bam-Bam, the Acting Company’s truck dog, below:

They both have at least some Jack Russell in them, and are both painfully adorable. Pilot belongs to one of our wardrobe ladies, and pretty much owns the wardrobe room and the attentions of anyone who enters it. I really can’t express any more about it, he’s just too cute for words.


August 15, 2010

The J/K Tree

I call this: summer stock,theatre — Posted by KP @ 8:18 pm

Gather ’round, children, and I will tell you the story of the J/K Tree.

(For anybody over the age of 20, or people who spend too much time in real life, and not enough time on the internet, “J/K” is text-speak for “just kidding.”)

This summer at Reagle the J/K Tree has become a metaphorical representation of anything that happens onstage when it’s not supposed to.

It began at the start of the summer, with our first show, Into the Woods. The set consisted of a bunch of two-dimensional trees covered in random text from fairy tales, as though they were cut out of the pages of books. Like so:

There were ten trees at various depths and locations, which would fly in in seemingly random patterns to define different areas in the story. In reality, which tree was in which scene was often very important to direct focus and allow access to certain parts of the stage while concealing others. But for the purposes of running the show, there was really no easy way to remember when a certain tree was supposed to fly. You just always had to have the right linesets moving.

Sometimes the wrong tree or set of trees would move. I had a tree-tracking table in a sheet protector on my desk which showed all the moves, the cue numbers, and most importantly, all the trees that were supposed to be in after a given cue had completed. Generally if it was found that a mistake was made, we would just have to deal with it for that scene and assign fly cues so that on the next transition we would end up with all the right trees in.

Until the J/K Tree. The J/K Tree was known to the director and the cast as Tree #2. It was known to the crew as lineset 7. I had to memorize both sets of numbers, which gave me a headache. Anyway, there was one particular transition, on one particular night, when Tree #2 flew in when it wasn’t supposed to. Because it was pretty far downstage, and close to center, it caught attention right away, and I and several other people immediately cried out that it was wrong. But it was coming in like it meant to, and being the center of attention, couldn’t just come halfway in, stop, and then go out. We figured, as we usually did, that we would just have to live with it until the next possible transition. As soon as it landed I mentally scanned ahead in the show to figure out when it could make a graceful exit.

Immediately I realized the problem: this was the transformation scene, where the Witch turns into a beautiful woman. There was a special in the floor that would shine right up at Rachel. I knew the special was just downstage of Tree #2, so her mark for the transformation would be exactly where the tree is. I said, “It can’t be here for the transformation, get it out!” and away it went, almost as soon as it had come in. As it casually returned to the sky, someone on headset commented cheerfully, “J/K!” And from then on it became known as the J/K Tree. Because of the words painted on the trees, we thought it would have been nice if it actually had the letters J and K on it, but I don’t think we ever inspected it that closely.

So through our techs of later shows it’s been the joke when something happens when it’s not supposed to, and is then quickly, and not so subtly, corrected — such as a dramatic light cue called early and then backed out of, or an actor who starts to sing before their cue and then stops — “Oops! Fly in the J/K Tree!”

It’s one of those you-had-to-be-there stories, but I noticed that I used “J/K” in my video in the previous post, and figured I should explain the particular history of it among our crew.


Crazy Sunday Afternoon

I call this: summer stock,theatre — Posted by KP @ 7:38 pm

All we had to do today was a Sunday matinee. After that we have no show until next Thursday. Things have been running smoothly, audiences have been leaping to their feet. When the sun rose this morning, all that stood between us and three-and-a-half days off was two-and-a-half hours of awesome musical theatre.

9:30AM

I’ve already been awake for a while, because somehow I’ve become an early bird like that. My phone rings, and it’s our star. She’s not calling me at 9:30 on a matinee day just to say hi. As I suspected, she wasn’t feeling well. She was calling me to get our producer’s home number to see if she could be rushed in to see a doctor so she could get a prescription before the show. Much to my relief, that was the extent of my involvement, and she was indeed able to see the doctor, and was feeling OK for the show.

12:15PM

I’m about to leave the house. Like packing my stuff. And I get a call from one of the Dynamites. It’s obvious right away it’s train trouble. A large portion of our actors commute on the red line from Boston, and need rides from Alewife, which is the last and nearest station to the theatre. There are two regular pickups: an hour-and-a-half before the show is the Ednamobile, which is driven by our “Edna,” Dan. 15 minutes later is the scheduled departure of the Musicmobile, driven by our music director and keyboard player, also Dan (which is why the two cars have names, instead of “Dan is driving me.”) Anyway, I find out that it’s not just the usual Sunday delays on the red line. Apparently the entire T has been shut down for about 40 minutes due to a power outage. Part of my dismay is that, not being from the area, I really don’t know how to help people when they have train trouble. But I do know that somebody even being slightly delayed on the train can really mess up my day, so all the trains in Boston being shut down less than two hours before a show doesn’t sound good.

I decided that getting to the theatre was not important at the moment, and stayed on my computer trying to reach people who could potentially offer rides, while checking Twitter to see what other Bostonians were reporting about the outage (the MBTA website showed all trains happily running with a green checkmark. Thanks!) Shortly after that, the trains started running again, and our actors (and one of our other keyboard players) made it on, and slowly towards Waltham. The Musicmobile would stay behind for them.

Act I

So finally everybody arrived and the show started without incident. Marissa wasn’t having problems, and I soon stopped worrying about her completely. We had almost gotten through act I when everyone kind of noticed at once that there was something in the air in front of the house right light tree. With all the fake hairspray hanging in the air, seeing particles in the beams of light isn’t anything unusual, but as our board op, Jess, pointed out, there hasn’t been any hairspray sprayed in that area in a really long time. So then the only explanation is that something is burning.

Thankfully this happened at the single point in the show where we have lots of time, during the last scene of the act. There was definitely steady smoke, but even with people looking from all possible angles, nobody was able to tell which instrument it was coming from. The light trees are just in front of the front row on either side and probably contain about 12 instruments each, from about 15-30 feet in the air. We spent the last 10 minutes of the act trying to narrow down the offending equipment, and praying it wouldn’t set off the fire alarm before we could examine it more closely at intermission.

We made it, and soon a good portion of the crew had gathered with flashlights to look at it, and saw nothing. After some debate, we decided it was time to take the inelegant step of bringing a ladder out into the audience. Taking a chance, we got the 16ft. ladder, which was much less disruptive than the A-frame, but wouldn’t be able to reach the top rows of lights, if that’s where the problem was. Basically we just wanted to figure out which light it was so we could unplug it or turn it off at the board.

Most of intermission went by and still no luck. We had our deck electrician on the top of the ladder checking all the connections. We brought all the lights up at 20 percent and he saw no sign of smoke. Finally I said that if we couldn’t find anything we’d have to give up, and suggested we put everything on that tree at full in the hopes that the offending light would show itself. Soon after, the smoke began again. After more looking with multiple sets of eyes on the ground and on the ladder, they found it was coming from a damaged connector. Jess quickly took all the lights out, and the connector was unplugged, and traced to the lights it controlled. That channel was parked out on the board, and soon the ladder was being spirited away backstage.

After the Show

We were pretty exhausted by the time the second act started, but everything went very smoothly for the rest of the show. Then as soon as the show ended, or perhaps as it was ending, the stage right toilet started flooding. Not like kind of backing up, or leaking a little bit. It was gushing water like Niagara Falls. By the time I got there there was at least an inch of water on the bathroom floor, so I wasn’t going in to see exactly what was happening. Two of our stagehands were inside trying to do something, and succeeding mostly in getting soaking wet. Wardrobe, who are based in the room next to the bathroom, and props, who have their tables set up just outside in the hall, produced several tubs filled with towels and we began laying barriers to contain and direct the water away from the props and costumes. The janitor arrived from the lobby, and splashed bravely into the bathroom. Soon we heard cries of, “Leatherman! Leatherman!” coming from inside. I dug into my bag and passed my Leatherman forward. Several seconds later, the sound of rushing water stopped, and the three intrepid plumbers emerged from the bathroom, mission accomplished.

Remarking that in one day the theatre had been attacked by both fire and water, I was getting out of there before the plague of locusts showed up.

I did, however, make a movie about the end of our harrowing day.


August 13, 2010

Hairspray Reading Material and the Joy of Live Theatre

I call this: summer stock,theatre — Posted by KP @ 1:09 pm

Just wanted to share a link about my current production of Hairspray at Reagle Music Theatre of Greater Boston.

The Globe ran an interview with Marissa Perry, who is our amazing Tracy Turnblad. Her story of how she got to Broadway is really inspiring, and actually involved many more twists and turns than described in the article. I described her yesterday during the show as a “quadruple-threat” — acting, singing and dancing, of course, but the threat that’s important to stage managers — she’s really smart and aware on stage, and can recognize and solve problems (like picking up a prop that’s been dropped on the floor, or figuring out how to casually set a brake on a set piece that’s sliding around).

The thing about live theatre that’s tricky is that you can’t always control what will happen on stage, and once it’s in view of the audience, there’s often nothing the crew can directly do to fix it, especially in a show like Hairspray that only has one or two blackouts. Things that get out of place or left on the floor create hazards for dancers, or can cause scenery to get stuck on them. An actor who can be counted on to notice these things and quickly remedy them before they become a problem is incredibly valuable for the smooth operation of the performance. To have a star with that ability, especially one who is almost never offstage, is a great blessing for me.

And I would add to my “quadruple-threat” comment from last night, that she is also a “quintuple-threat,” because on top of everything else, she’s everything you want a performer to be on stage, and she’s nice! It really doesn’t get any better than that.

On the subject of technically-aware actors:
I’ve also been kind of surprised to work with a few directors lately who have specifically taken a moment in rehearsal to talk about the importance of this, by saying things like, “If a prop falls on the floor, don’t ignore it, stay in character and find a way to pick it up. There are other things that need to happen besides your performance, and it’s important that that prop be where it’s supposed to be. You bending down to pick up the prop will not look as bad to the audience as any later problems it might cause.” So I’m grateful for that.

And I will share a story of the best case of an actor saving the day I’ve ever seen:
When I was in college I was the merchandising manager for Jane Eyre on Broadway. There was this scene where Rochester takes Jane out to the garden to propose to her, where there’s a bench on the turntable, and the bench turns off left while Rochester and Jane are kind of walking alongside it, and a scrim flies out revealing the garden. Well on this particular day in previews, I guess maybe the bench had gotten knocked out of place a little on the turntable, and as it spun and the scrim flew, the bottom pipe of the scrim went under the arm of the bench and began lifting it up off the floor by one end. James Barbour, walking slowly past the bench, arm-in-arm with Marla Schaffel, reaches out with his free hand, and casually lifts the arm of the bench off the pipe and deposits it back down on the floor, without missing a step. The combination of reaction time, calmness, and willingness to interact with something (flying benches in his backyard) that was completely out of the realm of the reality of the scene was really amazing.

And finally, if something goes wrong and you can’t fix it, at least come up with a good ad lib, like our Edna, Dan Dowling, did last night:
Somehow he lost a shoe during “Big Dollhouse,” and somehow the shoe ended up in the pit. At the end of the scene, when everybody is released from jail, Dan says his line to the Matron, “You touch one hair on my little girl’s head and I’ll be back to teach you a whole new meaning for split ends,” and then adds, “…and you can mail me my other shoe!” I’m not sure how much the audience laughed because I couldn’t hear anything over the laughter on headset, but suffice it to say, there was laughter all around. He also referenced it again in the next scene where he has an ad-lib spot in the phone call with Mr. Pinky. I think he said something like, “I’ll be right over. But I’ll be minus one shoe” (in that scene he’s wearing slippers). Of course not every show affords such opportunities, but we are lucky to have a show that was intended to have certain spots for ad-libs, and more importantly — a brilliant cast that spends time thinking up good ones, and can also come up with new ones on their feet. It definitely keeps things interesting instead of watching exactly the same show over and over.


August 12, 2010

Hairspray Photo Recap

I call this: summer stock,theatre — Posted by KP @ 1:54 am

Well Hairspray opens tomorrow, and I know I’ve been terrible about blogging. I just finished my work at 1:15AM, and we have a matinee, so I’m unfortunately not going to stay up all night writing, but I have been taking some photos over the last couple days to share.

Here’s one of the many dozens of fun cues I have in “You Can’t Stop the Beat.” There’s one — I swear to God — when Motormouth pulls off her pants disguise revealing her sparkly dress, the cue perfectly represents in moving light the act of taking one’s pants off and throwing them downstage, revealing a sparkly dress.

The cast and crew after our final dress:

(those two above images are production photos, by Herb Philpott)

Our master carpenter, Nat, took on the task of designing the portal which frames the downstage space. He had a cool concept of doing Andy Warhol-like paintings of our Tracy and Link. Well our painters, Jamie and Helen, have spent the last two days recreating photographs of our actors on two flats which sit on either side of the stage. They are awesome.

Head painter Jamie and her assistant, Helen, paint the Link picture, using a projected photo of Nick Peciaro as their guide.

The painting of Marissa Perry installed on stage.

And the usual calling desk photo:


August 1, 2010

Hairspray Load in Day

I call this: summer stock,theatre — Posted by KP @ 7:49 pm

I know I haven’t blogged much about Hairspray yet. Usually that means there are problems, but in this case it’s been going very well. Today we did a stumble-through of Act I, which was very exciting, and made our first serious attack on Act II by staging “Big Doll House.”

Today our set (from Wichita Music Theatre) arrived in two trucks, straight from its closing last night at Gateway Playhouse on Long Island. The tight turnaround between the two rentals has been a great concern for us, but so far so good. We have a lot of backup plans for things.

Just wanted to share some very early photos of the pastel megaliths now crowding our stage and shop.

Miss Teenage Hairspray Scoreboard
Hairpray Set Arriving

The magical giant hairspray can in its travel rack.
Hairspray Can

And the back shop has zero floor space at this moment.
Yeah, That's Enough Storage


July 29, 2010

Backstage at the Vegas Phantom

I call this: theatre — Posted by KP @ 10:55 pm

A reader sent me a link to an article in which one of Vegas’ ballerinas describes a two-show day (because they’re on the casino schedule their shows are shorter and much closer together than on Broadway).

It’s really well written. She perfectly captures the spirit of the little rituals and jokes that develop over the course of a run.

I hope when I get back home I can do one of my own, from my perspective.


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