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October 29, 2008

The Tour: Day 3

I call this: On the Road Again,theatre — Posted by KP @ 1:55 pm

Day 3 of my preproduction week.

A recap:

Day 1

I spent most of the day at home doing some light paperwork and emailing, then went into the office for about an hour to read and fill out about a thousand forms.  For those curious, this includes the regular stuff you have to fill out when you start a job: W-4, I-9, NYS tax withholding form, employer’s info sheet for their records, and direct deposit paperwork.  Then the contract, which in this particular case consists of the Equity contract itself, the basic Letter of Agreement rider, and a very extensive rider which covers mostly matters related to touring — what kind of housing, per diem, etc.  A lot of it was new information, and the only surprises were pleasant ones, so that made me happy.

Day 2

I went into the office for about 3 hours and started off making copies of some research packets we’re giving the cast at the first rehearsal.  The first show we rehearse, The Spy, takes place during the American Revolution, so the packets are all historical information, timelines, and maps from that period.  Then I spent the rest of the day catching up on some paperwork, getting more accurate information about actors’ conflicts and passing it on to the directors (each show has a different director).

Today is

Day 3

…and my first full day at the office.  Because there’s not a spare desk for me I’ve wound up parked in the conference room, trying not to look like I’m taking over the entire thing. But essentially, yes, I have the corner office.

In the meantime, the first rehearsal draft of the script landed in our inboxes during the day.  The play is a new adaptation, and will be changing during the process, but this is the version we will begin rehearsal with.  So I threw that in the fancy and so-far-very-dependable copier and made 20 copies.

There was also a staff meeting today, which I was invited to attend. Most of it was about the company’s upcoming annual gala, which I have nothing to do with, but there was an opportunity to talk about arrangements for our first rehearsal. After the meeting concluded I discussed a bit more in depth in a side meeting with the production manager and general manager. The company manager and I have been meeting periodically for a few minutes here and there over the last couple days, as issues come up. Subjects have included my flight to Minneapolis (to which my answer was, “sure, whenever.” I’m easy like that), hospitality info packets for our stay in Minneapolis, catering for the meet-and-greet.  She’s totally on the ball, and I feel fantastic about that.

I also got my first paycheck today. My ASM, Nick, showed up at the office in response to my email that his check was waiting, and I loaded him up with the new copy of the script fresh off the presses, the Equity LORT rulebook, and the 6-page stage manager’s guide to rehearsing at New 42nd Street Studios. He’s officially on contract starting today, but I’m trying to go easy on the workload with him because honestly I don’t really think there’s that much for him to do right now. On Friday we’re going to meet at the office and spend the day preparing boxes of office supplies, spike tape, and whatever else we are going to be loading into the studio on Monday. The “we” of that component actually means Nick and I show up at the studio at 10 on Monday and the stuff we left in a corner of the office will magically be delivered, along with all the props, by our production manager and crew. We agreed that this is indeed a very high-class production.

Most of what I’ve been dealing with today is the deadline to get some paperwork in to the New 42nd Street Studios, where we’ll be rehearsing in New York. A lot pertains to our meet-and-greet on Monday. The studio is pretty much the premiere place to rehearse a show, and since they deal with high-profile productions, they are used to this kind of event being a big undertaking. Apparently they reserve the right to hire a fire guard at additional cost if they think your meet-and-greet is a little too ambitious.  I don’t think we’re going to have that problem.   But they need a head count and they need the names of all our attendees, which includes the cast and production staff as well as invited guests such as board members and guest speakers, because from all I’ve heard, if you’re not on the list you’ll have a hell of a time getting past the front desk.  They also need to know who is delivering our catering, and at what time.  So since all that information was constantly being updated, it took me literally the entire business day to fax these forms.

Another full day at the office for Day 4.


October 27, 2008

OK the Job…

I call this: On the Road Again,theatre — Posted by KP @ 10:19 am

As I wrote in this teaser post, I am starting a new job.  I think now is a good time to tell you what it is.

I’m going to be the Production Stage Manager for The Acting Company’s 2009 tour.  In a very brief history of The Acting Company, they have been producing classical theatre and new works for 36 years, and every year they do a tour, bringing classic plays and educational workshops all over the country.  In 2003 they were given a Tony Award Honor.  Much more information is available at their website, linked above. 

The tour this year is Shakespeare’s Henry V, and a new play called The Spy, based on a novel from 1821 which takes place during the American Revolution.   The shows will be performed in rep by a cast of 12.  

The touring company will consist of the 12 actors, as well as the company manager and the staff rep director, who basically functions as the resident director of the company, meaning I don’t have the responsibility for the artistic integrity of the show.  These 14 folks will be traveling on the cast bus.  On the crew bus will be me, Nick, the tech director, lighting, sound, props and wardrobe supervisors.  We’ll be living on the bus part of the time, which I expect will be kind of annoying and kind of like being a rockstar.  The cast will be staying in hotels.  

There’s also going to be a shortened school version of Henry V, which will be performed out of a trunk that travels under the cast bus.  Occasionally the trucks and the crew bus will leave town to head to the next city while Nick and the cast stay behind to perform the smaller show for students, followed by workshops.  This sounds kind of fun.  I’m not sure if I’ll ever get the opportunity to do one of these performances.

Budding stage managers always want to know how to get jobs, so I’ll tell my little story about this one.  It’s pretty standard for the business.  Back in July, I was contacted about the show by Bill Fennelly, who was the director of Frankenstein last year, and had just taken a new position as Associate Producing Artistic Director of The Acting Company.  When they were looking for a PSM for the tour he sent out a brief summary of the job to me and some other people (via Facebook of all things) asking if anybody was interested.   I was out of town doing summer stock at the time, and not coming home anytime soon, but I called him and he told me what he knew about it.  It was hard for me to consider touring when I was already away from home, but the job fit some of the experience I’m looking for in my career.  We touched base about once a week for the rest of the summer, and a couple days after I got home I met with the production manager, who gave me a more detailed picture of how the tour would operate.  I liked what I heard, but since my suitcase wasn’t even unpacked, I still wanted a little more time to think about it.  A short time after that meeting, I met with the artistic director, who gave me the A-OK, and I accepted the job.

The moral of the story is, of course, you usually have to know someone.  The selection of a stage manager is such an important decision in a production that few people want to take a chance on someone who they haven’t personally worked with before.

On the bright side, my ASM got the job by submitting a resume in response to a job listing, I’m not sure where exactly they listed it.  Basically I couldn’t get any of my colleagues to do it, so I was ready to open it up to the world, confident that there’s somebody great out there that I just haven’t met yet.  The three guys I interviewed all had no prior history with the company and were selected for interviews just based on submitting their resume.  So there is an chance to get your foot in the door with new people, you just have to get lucky and hope the PSM’s friends all have better things to do!

As we will be all of over the country and doing a lot of one-nighters, this presents a perfect opportunity for some serious blogging, so stay tuned to the category “Tour Mini-Blog” to come along on the journey.

Also watch the sidebar, I’m experimenting with using Flickr to quickly take photos with my iPhone and upload them instantly to the interwebs, creating a real-time “KP’s-Eye-View” photostream of where I am and the interesting, or interestingly mundane, things I see.  Once I get some time with it, I’ll do a technical post about the apps I’m using and stuff.


September 11, 2008

Next Job Teaser

I call this: theatre — Posted by KP @ 5:32 pm


One of the destinations of my next job. Details to come later. It should lead to some interesting blogging.

Incidentally, this view of the topography also pretty much sums up how the walk from my apartment to the subway feels, except without the pretty flowers and sky and stuff.


September 3, 2008

The iPhone App Store and Stage Management (and Fun)

I call this: mac,phones,theatre — Posted by KP @ 8:07 am

UPDATE: A current list of my most-used apps is kept on the Apps Page.

Well I’m in music rehearsals for a NYMF show (Twilight in Manchego), so this means you get some blog posts while I sit doing mostly nothing to the soothing sounds of Chuck Cooper learning his music.

Today my topic is a roundup of what I’m using on my iPhone to make my job, and life, easier.  My initial reactions can be found in this post.

Time:Calc $1.99
Some people reviewing on the app store don’t seem to get this.  “Why would you need a calculator to work with time?  Just do it in your head.” These people obviously don’t understand that there are people who suck at math, or the enormous amount of time calculations a stage manager does all day long, and moreover, that there are stage managers who suck at math.  This app is so amazing, I use it all the time.  I’ve gotten pretty good in my career at calculating in 1hr 20 min blocks (the standard Equity break schedule), but for more difficult calculations, like running time down to the second (i.e. 8:05:30 – 9:21:35), there is much more room for error.  Some conductors will drive themselves crazy over a few seconds variation in the running time, no need to freak everybody out with bad math when it can be done with instant accuracy on the calculator.  This is of course for situations where you don’t enter the run times in a report that calculates it for you.  But whatevs, I don’t spend my whole life on Broadway, you know, and I don’t need to create a database for a show that runs 10 performances or less.  This app is attractive, cheap, and works exactly how you think it should.

OmniFocus $19.99
This app is pretty expensive at $20, but I find it worth the cost.  I can’t afford the desktop companion, but I like keeping everything on my phone in one place anyway.  It also backs up to my iDisk, which is great, since I’m often updating my firmware and reinstalling my apps because the App Store/iTunes is busted.  I was looking for a simple Todo app, and found all the ones I tried suck.  So I decided to go for a very not-simple app instead.  I won’t go into all the details, but it’s location-aware (so you can see a list of tasks based on which are closest to your current location), very powerful with multiple ways to organize projects and contexts in multiple sublevels, and it’s a neat and clean interface that’s very finger-friendly while containing tons of information.   Considering I stopped using Todos altogether with Windows Mobile because the app was such a pain, I feel my life getting a bit more organized already.

iTransNYC $4.99
Much better than the cheaper alternative, it contains a very clean subway map, on which you can tap on a station to see a list of the trains that stop there and their schedules (which are never right, but I blame that on the MTA, not on the app).  It can put your current location on the map.  It gives you service changes as well as current alerts, like trains skipping a station because of police activity.  It can also do directions from one station to another (not from addresses, but I don’t find this to be a big problem in my life), and it will tell you where you need to transfer if necessary and give you a time estimate.  I have no idea if the time estimate is accurate, probably not, but again that’s the MTA’s problem.   It’s got my daily commute at 23 minutes, which is pretty damn close to my estimate of 25 mins, on a good day.  But if all estimates are assumed to be on a good day, at least that gives you an idea.   The best part of the app is that most of the features (including the route calculation, impressively) can be used offline, which is essential for anyone living in New York, where the majority of the time I’m looking something up on my phone I’m underground.   The service advisories are cached, although you have to remember to open the app above ground and download new ones if you want them to be up to date.  That other app, CitytransitNYC, looks up service advisories, but does it live, it can’t show them to you once you’re underground, which is close to useless if you’re debating whether or not to change your travel plans en route.

Weatherbug Free
I don’t trust the built-in weather app for a second — literally I don’t trust it to tell me what’s going on right now, much less in an hour or tomorrow.  Weatherbug is more detailed and also gives advisories on serious weather conditions.  At Reagle I used it to warn me when I was about to get struck by lighting in the parking lot.  This isn’t exactly job related (unless you’re doing outdoor theatre, in which case it might be the most important app you have), but I feel it’s one of those secondary jobs of the stage manager to have an answer for everything, including whether it’s going to rain on our day off.

Flashlight Free, requires jailbreak
There are a number of flashlight apps.  The one I use requires the phone to be jailbroken, because it makes the screen brighter than Apple will allow the official apps to be.  But if you don’t want to go that route, there are some on the App Store, many free.  Personally I think if you have to resort to this you have failed as a stage manager, but not as epic of a failure as if you don’t have a flashlight and don’t have this app.

Files $6.99
When I was looking for an app to put documents on my phone, I had three requirements: doesn’t require a proprietary desktop app, displays the documents well, and has a pretty interface.  This app has all three, so I’m happy.  If you’ve got your phone on the same network as your computer, it tells you what address to put in to mount your iPhone in the Finder (I assume it works on a PC, probably not as simply).  I keep a PDF of the Equity rulebook for whatever contract I’m working on, the script, calendar, schedule and contact sheet for my current show, and whatever else I need.

Wikipanion Free
An app to easily search Wikipedia without having to load the rather phone-unfriendly web page. I suppose this could be used for legitimate rehearsal research, but what I find myself using Wikipedia most for while working is looking up trivia that comes up while running a show.  It can be hard to do while calling some shows, but generally you can find someone on the crew who plays on their laptop while doing their not-so-demanding job. For example when I was doing Annie this summer, during the cabinet scene Morganthau is introduced as “Acting Secretary of the Treasury.” Why was he acting secretary, and what happened to the real secretary of the treasury?  Wikipedia can tell you.  I expect this app to make it much easier to answer these kind of burning questions when it’s not practical to have a laptop backstage.

UPDATE: 1 More!
Cycorder Free, requires jailbreak
This is a video-recording app which takes very good quality video for a phone camera.  It did not originally support audio in its first release, but it does now.  It’s free, and supported by advertising which is very subtle and non-intrusive, and very much appreciated as an alternative to the other video app which costs money (which I think is rather silly for an app that is technically not supported on the phone and could be disabled by Apple at any point in the future). The app doesn’t have a built-in way to get videos off the iPhone, so it requires a little more computer knowledge to do that.  I don’t know much about UNIX and I’m not a fan of using the terminal to work with files, so the method I prefer is to install an app through Cydia called Netatalk, which makes your iPhone able to communicate with a Mac through standard Apple filesharing, so if the phone and Mac are on the same network, you will automatically see the phone in your Finder under “shared.”  From there you can log into the phone and browse to the folder where the videos are stored.  Check out this post for a tutorial on how to do this.


April 4, 2008

Flashlight Discoveries

I call this: theatre — Posted by KP @ 4:01 pm

This is a recap of some stuff I discovered, mainly while working on Frankenstein.
Being a stage manager, I’m naturally somewhat obsessed with flashlights, and at some point earlier in my career when searching for new toys, stumbled on the site photonlight.com. I had purchased a Photon Microlight II much earlier, at Eastern Mountain Sports or one of those places, and wore it on a chain around my neck as an all-purpose last-resort flashlight that would always be on my person. I considered it a step up from a bite light, as it had a pushbutton for momentary use, and a tiny switch so it could be left on. Thus, you could hold it in your teeth or in your hand, but without the need to actually bite on it or squeeze it to make it work. This was all well and good until I discovered the rich variety of small LED lights they sell online.

Specifically, the Photon Freedom Micro. It’s insane. It does all sorts of complicated things with only one button, I don’t even remember how to use them all.

The ones that I use:
1. Press the button, the light comes on. Press again to turn it off. Simple enough.

2. If you’re like me, and reading Howard McGillin’s crossword puzzle while stuck for 10 minutes on a bridge over the stage of the Majestic Theatre, you might not want to turn the light on to its full power, even when using a colored LED. If the light is off, simply hold down the button. This will slowly increase the brightness from nothing, and when you let go it stops at that level. So if you want only a teeny-tiny amount of light, let go as soon as it starts to light up. It’s awesome. It also works in reverse, if the light is on and you hold down the button, it dims until you let go. Once you turn it off it will return to full brightness next time you press the button.

3. It can also do crazy things like flash at different rates, or even automatically flash SOS over and over.

Next comes the ability to customize your light. For the housing there are obvious colors like black and various camo shades, but you can also get it in more funky colors. The one I use for the stage is the black covert housing, which has a little plastic hood that covers the sides of the LED, so you can only see the light when it’s pointed right at you, and the beam doesn’t spill all over the place. I have a second light with a white LED, which I keep on my keychain for general illumination, and that’s in the “fashion blue” color, just because it looks cool.

Then you get to choose the color of the LED, which offers a wide variety of choices. It should be noted that not all the colors are available with all body styles. You may have to get black or camo to get the color LED you want. The full list of colors are: white, red, orange, yellow, green, turquoise, purple, and for a few dollars more, you can even get IR or UV light. I went with turquoise for mine, because it has night vision properties, but it’s not as dark as blue, so it gives more natural illumination. I am completely opposed to using red-gelled flashlights onstage. Unless perhaps you’re doing Sweeney Todd, if the red spills anywhere that the audience can see it, it will stick out like a sore thumb, whereas shades of blue will probably blend in with your lighting better. So I’ve been really happy with the turquoise color.

Finally, you get some accessories in the box. I didn’t think much of these, since I was accustomed to using the small keychain ring on the old one to wear it on a chain around my neck. The Freedom comes with two clip accessories that the light can pop into. The first has a simple loop on it to be used on a lanyard or anywhere else you might want to tie a string through it. I still use this through the chain around my neck, but now with the advantage that I can pop it off at a moment’s notice to point it at something far away from my neck, or (gasp!) let someone else borrow it. And despite my initial fears, I have never had it pop out of the clip unexpectedly.

The other accessory is this amazing device that has an alligator clip with a magnetic base, so you can either clip it or magnetically attach it to something, and the light is held on a swivel so you can aim it wherever you want. As you can see the guy in the picture is wearing it on his hat. This summer I didn’t have a bedside lamp at the apartment I was staying at, so I stuck mine to the metal bedpost and used it as a reading light. But the moment that changed my life was when we started tech for Frankenstein and I attempted to clip it to my headset, on the side of the not-covered ear. I had one of the really lightweight Clearcom headsets, and the clip jiggled around on the thin metal band. I rolled a thin strip of gaff tape around the band until it was just thick enough for the clip to hold firmly, and there it remained until the show closed. Words cannot express how helpful that clip was. I was wearing way too many hats on that show, and the ability to turn on the light with one press and then be able to work handsfree was amazing. Thanks to the ability to turn the light at any angle, I could give it a quick twist and have it point exactly where I was looking, or at a different angle, so my head could be looking down at the cue light while the light was aimed up at the tape marks on the ropes I was pulling. The other cool thing was that because of the clip-in holders, at the end of the show I was able to easily pop the light out of the holder on my headset and place it back in the holder around my neck, so I didn’t have to leave it at the theatre.

Surefire

Because I’m obsessed with flashlights, I often use two during a performance — one for when a small amount of light is needed, and one for when I need a lot of light. My light of choice for the “a lot of light” category has always been the Surefire 6P. It’s reeeeeaaaalllly bright. With a Xenon bulb the battery life is pretty terrible (something like 1 hour), and the camera batteries it takes can be expensive, even when purchased in bulk. I noticed on Frankenstein that my batteries for both flashlights were running out too quickly for my tastes. I was getting less than two weeks out of the Surefire, and this distressed me, especially since I wasn’t even using it for the vast majority of my cues. I was bitching about it one night on headset, when our electrician mentioned that she had an LED Surefire, and it got much better battery life. I wasn’t even aware that Surefire had made an LED equivalent of the 6P, and I doubted it could come anywhere near the brightness of the Xenon bulb. She assured me that it was at least bright enough to see into a grid, and offered to let me play with it. A few days later I stood on the stage with my 6P and hers (which is called the G2), and shone both of them around the theatre — up to the balcony, into dark corners, etc. What I found when comparing them against a spot in the back of the balcony was that the G2 exhibits that weird murky gray-blue quality that all white LEDs have, and that the 6P was more naturally picking up the vibrant colors of the walls and doors, etc. But while the 6P was more pleasing to the eyes, the G2 was illuminating the same area well enough, and the tradeoff for better battery life seemed worth it. I ordered a G2 the next day.

The other fun thing about having a Surefire is that we had a little bit of a shadow play at one point in the show, and during understudy rehearsals I would stand behind our “Creature” and hold the Surefire next to the instrument that would be illuminating him, and the beam was strong enough even under worklight to allow him, the PSM and dance captain sitting in the house to see the shadows and work on his performance of them. You can’t do that with a maglite.

I should also mention that I also have the flip-off blue filter for the Surefire. Mine is the older style, from my 6P, but I found with some elbow grease it fit on the G2 as well. Most of the time when I use the flashlight during performance, it’s with the filter on.

Batteries
Since all my batteries had been sucked up by the show, I placed a bulk battery order at the same time as I ordered the G2. When my Photon light would die, it was a tragedy. Radio shack charged something like $6 for each watch battery, of which I needed two. Twelve dollars in batteries for that tiny little light, it was almost as expensive as buying the batteries for the Surefire at retail. So I ordered a bunch of the lithium batteries for the Surefire, and also found that I could get the same watch batteries for the Photon that I bought for $6 at Radio Shack, for 51 cents!!! Needless to say I ordered a ton of them. I found the G2, and the batteries at Brightguy.com.

I hope you’ll find these products as useful as I did. I was so excited the day the order from Brightguy arrived at the theatre, I stabbed myself with my Leatherman while trying to pry off the battery door on the Photon light. I recommend the small screwdriver tip for that now, not the point of the huge freakin’ razor-sharp blade.

And finally, frequent readers will know I hate posting pictures of myself, but I feel this really requires an illustration of the headset mounting trick for the Photon light, and it so happens the only pictures of it I have include my head within the headset, so here you go:


March 7, 2008

It’s 29 Hours. What Could Possibly Go Wrong?

I call this: theatre — Posted by KP @ 4:57 pm

My Views on Small Gigs

After several weeks of unemployment, I have a little job. Actually, even Equity admits that a stage reading does not constitute “employment.” What they mean by that is, if you’re doing a show that allows you to miss rehearsal due to other employment in the industry, this is not a good enough excuse. But also, a week of work for $100 isn’t really a job. Still, I much prefer doing a reading to a showcase, as I recently turned down a 6-week showcase, even though it would have paid $600. My philosophy about jobs in theatre that don’t pay actual money is that if I’m not doing anything, I can dedicate a week of my life to meeting some new collaborators, learning a new show that might have a future, working with well-known actors I admire, and putting my full effort into making a 1-page contact sheet, putting together 29 hours of schedule, and helping them to coordinate the moving of music stands and chairs around a bare stage. I might even take the house lights up and down for the actual readings.

Contrast that to a showcase, which despite its name and original intentions, is a full production with a full design team, essentially a full-time job for usually six weeks, culminating in an actual production which needs to be loaded in, teched, and loaded out. And it still usually pays only $100 a week (if you can get it — that’s seldom the original offer). Not to mention for someone like me who subs on Broadway and Off-, I could lose far more money in lost sub work than I make doing the entire run of the Showcase. It’s happened to me several times. And lest that sound like it’s all about the money, let’s remember that if I’m taking a Showcase it means I don’t have a job. So yes, at least until the rent is accounted for, it has to be at least partially about the money. Personally I feel I’m making more art in the 8,125th running of the Phantom Overture than in many showcases I’ve done, so I actually feel no guilt about the art either.

But back to the reading. I don’t mean the title to sound like it’s going badly. It’s not at all. It’s actually something I’ve said many times, in fact to the director of this one when we first met for coffee. It really is my philosophy about doing readings. When you take a show, you don’t know if it’s going to be a good experience or a bad one, if it will go somewhere or be forgotten about forever, or if the people you meet will lead you to bigger jobs, or never call you again. In my opinion, if the show turns out to be a bad experience, there are two ways to rationalize getting out of bed in the morning: either they’re paying you a fair wage, or it will all be over soon. This is why showcases are bad — they satisfy neither criteria, so if you’re not having fun, you’re screwed.

I truly believe the process of putting eleven actors standing at music stands for 29 hours can’t possibly create the kind of unpleasantness that would make it not worth the risk. Thus, I took the job, no questions asked. We start rehearsal tomorrow, and so far I like the director, who I’ve met, I like the composer and musical director who I’ve gotten to know quite well via e-mail, and I like the cast — one of whom I’ve worked with and am thrilled to be working with again, one of whom I’ve spoken to on the phone, and the rest through e-mail. I’m excited to start meeting people and get to work.

The other great thing about this job is, as I said in an earlier post, I’ve missed being a PSM for the last six months or so. A reading doesn’t allow for the full use of PSM skills, but I’m hoping it will be enough to tide me over until summer, when I will have more responsibility than anyone could ever want, as PSM of a summer stock season.

I will share one other thing I’ve learned from being unemployed for the first time in about a year. Having a week or more to myself has reminded me how valuable my time is. I am an only child, I learned at an early age how to entertain myself. I am not bored at all. If I could be paid to do nothing forever, I would never leave my apartment. So I feel no desire to take a so-called “job” just for the sake of having one, if the money offered is not remotely worth the value of my time. I believe I provide Broadway-quality stage management to every show I do, big or small. That doesn’t mean I expect every employer to be able to pay me $1,500 a week, or anywhere near that. I know how much money I need to live, which is not much by New York standards, and I need health insurance, and I will never turn down work that meets those two requirements. But for anything below that I realize now that the only reason to take such a job would be if I wanted to. For whatever reason — believe in the show, want to work with one of the actors, like the director, trying to get in with the producer. There has to be a reason I want it, so badly that I’d rather do the show than sit comfortably at home doing something else. And in the last month I’ve learned that there’s nothing wrong with saying no to working your ass off when there’s little or nothing to be gained. In no other industry would anyone be made to feel guilty over such a decision. Should I call up an accountant and ask him to do my taxes for $5 in his spare time at night? If he tells me he’s actually quite busy watching American Idol, do I have a right to question his devotion to developing his accounting skills?

Now that I’m spending some time back at the bottom of the industry, just wanted to share the view. It’s easy to forget when you get used to a weekly paycheck.


September 13, 2007

Preproduction and Software

I call this: computers,mac,theatre — Posted by KP @ 10:13 pm

Ooh, great, another one of those posts where I actually cover the full span of what this blog is about — theatre and technology, and how I use them together. We’ve been in meetings all week for Frankenstein, and I’m having a great time. As the ASM, my contract doesn’t start for another day or two, but I’ve been happily attending all the meetings with the PSM, as being in the loop is much more important to me than being paid, and quite frankly I didn’t have a lick of work last week and was bored out of my mind. So sitting in formatting meetings every day has been great fun, as we work through the show with the various design elements.

Monday and Tuesday were focused mostly on the set, with the director, choreographer and set designer, and us two stage managers. Wednesday was our sound day, with our two sound designers and the musical director. This is definitely a show where the sound design will contribute a lot, and I can’t wait to hear more about that. Today and tomorrow are all about projections, which will also be a key part of the show, and then we do lights and everybody together on the weekend.

It’s been very helpful for me to see the show take shape as everyone decides together how things will go. I have been taking notes on everything (using Pages), and have been using the very attractive comments feature to mark events that will likely be cues for me on the deck. See the drawing to the right for a sample page. I’m very happy that we haven’t even started rehearsal and already I’m thinking about what I need to be doing on the deck at any moment, and can look at the groundplan and plot my backstage traffic and ask the designer questions as they come up.

Some of the more artistic stuff is something I’ll probably never need to know as part of my job, but having grown up and gone to college wanting to be a director, I still find it really interesting to be in the room as the basic vision of the show takes shape and is altered through collaboration. The creative team is really great, and the mood in meetings is very positive and fun. It’s definitely one of those moments where I have realized how lucky we are that we get to put on shows for a living. Sure it’s serious business and all our jobs and rent depend on not screwing this up, but it’s got to be more fun than the vast majority of other professions.

A Clean Slate
Since I’ve been back from Reagle and lacking any kind of seriously demanding employment for the first month, I’ve taken this time to experiment with some technological toys that I wouldn’t risk playing around with if I was in the middle of production. Getting confirmation of the Frankenstein job with a couple weeks notice before beginning rehearsal, I have seen this as something of a clean slate to try a few things I’ve been wanting to.

Mail
I think I mentioned in my review of Pages that I see this latest edition of iWork as a possible precursor to me effectively removing Microsoft Office from my life. The big thing holding me back was Entourage, which I much preferred over the combination of Mail, Address Book and iCal. I shouldn’t say I much preferred, just that I stuck with the power of it, despite the vaguely Windows-esque feel of it.

Another part of this decision, less obvious at first, but lurking in the shadows, is the iPhone. I don’t want one now. I want a smartphone, and a phone that can’t open and edit a Word document or spreadsheet, or open an image file in its native resolution, or cut and paste, is not very smart. There is a litany of things Palm devices have been doing for five years that the iPhone can’t do. Third party hacked software has been helping this, but I’m not yet at a level of comfort where the iPhone is something I want. I’m definitely not jumping on the bandwagon until the second version, and I’m not too thrilled about AT&T on top of that. But I see that especially given how embarrassingly Palm has stagnated in recent years, there will be an iPhone in my future. And when that day comes, I’ll want it integrated as nicely as possible into my Mac. And that means using Mail and Address Book and iCal to get the full effect of the Mac experience. So being able to make this transition at a convenient time will save me trouble later, if and when I get an iPhone.

I also have been depending more and more on having access to my e-mail on my Treo. For years I have used SnapperMail, which is a very mature Palm mail client, but the version I own is only for POP mail. I am something of a pack rat, in real life and in my digital life. My goal is to keep every e-mail I ever send and receive in my life (excluding spam and advertisements and the like). Somewhere along the line I lost my earlier mail, but my current archives go back to the end of 2002. For this reason, IMAP mail has always turned me off. The idea of my mail residing on a server and maybe or maybe not being saved to my desktop client scared the hell out of me. But handling POP mail on my Treo while trying to keep complete records on my main computer was somewhat frustrating. I was willing to give IMAP another try, which meant using my .Mac account, which offered a perfect opportunity to give Apple’s Mail app another try.

I have been a member of .Mac for a few years now. I think it’s a bit overpriced and underdeveloped, and their servers are usually slow, but I use it mostly for iDisk storage and the ease of use and integration into OS X. I’m fully capable of doing things the hard way, but for what amounts to $8 a month, I don’t mind having Apple take care of most of it for me. With that of course comes an @mac.com e-mail address, which I have never bothered to use because I was never sure I wanted to keep the service.

E-mail
The next seemingly unrelated event in my life was that my parents moved over the summer, and on the day I returned from Reagle I went to their house and set up their wireless network. In the course of testing it, I noticed they were getting download speeds in the neighborhood of 12mbps. They have Optimum Online, on Long Island. Now I knew I was not getting anything near this from Time Warner/Earthlink. So when I got home I found I was lucky to get about 5mbps. It seems from my research this is the maximum speed of the network that people are reporting in NYC. This did not seem fair to me, and planted the seeds of discontent. However, ditching Earthlink would mean changing my e-mail address. I’m terrified of changing my phone number or e-mail, because I fear that someone I haven’t talked to in five or ten years will suddenly need to get in touch with me and will be unable to. Combine this problem with my interest in switching my e-mail to IMAP, and suddenly a plan was formed: if I used my .Mac account as my primary e-mail I could switch ISPs as often as I need to to get the best service, yet not have to worry about changing my e-mail address. Plus I’d get the cool and easy-to-type @mac.com address, which most importantly has much fewer letters than @earthlink.net.

So it all came together at once and I sent out an e-mail blast to all my friends and former coworkers advising them of the change, and created e-mail aliases for my other three addresses and updated the relevant sites and institutions about the change. And I have been using Mail ever since. The rules are definitely less flexible than Entourage’s, but overall I’m happy with it. Plus, Leopard is coming out in a month or so, and with that an update to Mail which might have some improvements.

On the Palm side, I have switched to Chatter, which is widely regarded as the best IMAP client for Palm OS. The developer has since been hired by Palm, hopefully to design something cool for their next mail client, so development on the current version has pretty much ceased. I’m not thrilled about paying for an app I know is no longer in development, but given the circumstances, I think it’s something I have to do to take advantage of IMAP. I find I’m using my Treo more for responding to e-mail because I’m not worried about it being in sync with my desktop. Just tonight on the train I wrote two e-mails that I normally would have waited until I got home to respond to.

Pages
I’m really getting to like Pages, the only dilemma I have is whether it’s appropriate in situations where I may need to share my work with others using Word. I think I’ve been pretty bold about using it for almost all my Frankenstein documents. I have been placed in charge of creating and maintaining the contact sheet, and today decided to go ahead and do it in Pages. I think first of all it will be much better for my sanity as I work with it, and I think the formatting will come out much cleaner and more legible. We have also decided to distribute it in PDF, which means I don’t have to worry about what Word decides to do with it. I will have a Word version, as some people will need to work on it occasionally, and I will keep an eye on the compatibility to make sure it’s not a disaster, but I hope that I will be able to do it in Pages without embarrassing myself. Anyway, so far Macs outnumber PCs in our production team 6-to-1 by my last count, so I doubt I’ll hear too much bashing.

Numbers
I like the feel of Numbers, but so far in my experience, and from what I’ve been reading, it’s not as sufficient a replacement for Excel as Pages is to Word. I guess this is to be expected, as this is the third version of Pages and only the first for Numbers. There are some things with formulas it can’t do, but for the most part working in show business, and being largely more concerned with the “show” than the “business,” I hardly ever use spreadsheets to crunch numbers. I received Frankenstein‘s prop list in Excel, and have since been editing it in Numbers, as it’s just a list and should export back into Excel easily enough if necessary.

iCal
I’m just going to come out and say I love iCal. I always have. I have always preferred iCal to Entourage’s calendar, it was just all the other baggage involved in switching away from Entourage that kept me from it. But now I get to use it every day.

My real work on Frankenstein began last Sunday when I got together with my PSM, Joshua, for a working lunch. One of the biggest things we had to tackle was to make some sense of the very short period of time we have for production and to propose a schedule, taking into account the needs of the production team and all the various Equity rules. I had been putting a rough sketch of the show schedule into iCal for my personal use, in a separate Frankenstein calendar.

Using the very clear and intuitive week view in iCal, we started dragging around rehearsals, dragging them between days, dragging them earlier or later in the day, of longer and shorter duration. It was very easy to see what we were working with and play around with it. While my version is not the official production calendar, it’s what we’ve been using whenever we’re brainstorming schedule changes. I couldn’t be happier with the way it’s working.

Address Book
The final piece of this puzzle is Address Book, and it’s probably my least favorite part. While the layout is very simple and easy to navigate and generally Mac-like, I’ve always found it a little too simple at first glance. Syncing contacts from any platform to Palm is always scary. If they don’t quite play nice together all of a sudden you’ll find people missing, duplicated, or all their e-mail addresses listed as phone numbers and all their phone numbers listed as e-mails. I’ve been backing up both ends a lot, just in case something bad happens. One basic thing I don’t like is that the Apple apps don’t deal with “categories” per se, in the way that Palm and the Microsoft apps do. iCal has calendars, and Address Book has groups, but they’re not exactly the same, especially in Address Book. See the problem is that on the Palm side, an item can only be in one category at a time. This is kind of Palm’s fault, since they haven’t innovated anything since about 2002, but in Address Book you can put a contact into multiple groups, and it’s quite difficult to tell you’ve done so, until you notice that on the Palm it’s not where you expected to see it. This is sort of a problem in Entourage as well, where you can assign something to multiple categories, but it’s harder to do accidentally.

Also, Entourage makes a distinction between categories, which are used to organize contacts, and groups, which are lists for e-mail distribution. I can have a Frankenstein category that contains everyone involved in any way in the production, and then separate groups for cast, production team, rehearsal report list, etc. so that when I send e-mails I have various pre-made lists to choose from based on who I want to contact. In Address Book the only form of organization is groups. If I want to send a mass e-mail to a bunch of people, I need to create a separate group with that bunch of people, which is a little confusing and clutters up my categories on the Palm end. I think having an iPhone or any device that behaves more similarly to Address Book would ease my concerns with this.

Overall I’m enjoying the new toys I’ve been playing with, and I have a few more to try out soon.


July 31, 2007

42nd Street Week 2 Recap

I call this: summer stock,theatre — Posted by KP @ 6:12 pm

I haven’t been posting very regularly since we started rehearsal. It’s been a crazy process and I haven’t had much free time, or the mental energy to relive my day after I get home. I have been taking some pictures with the intention of sharing them, so I will try to catch you up.

Now that we’ve got something very closely resembling a show going on on the stage of the Robinson Theatre, here’s what’s been going on:

First of all, let me introduce Jameson, our company’s “Spiritual Frog.” He sort of showed up one day and I really wasn’t sure where he came from or why he was there. His origins are still somewhat of a mystery to me, but he apparently originated with the ensemble men, following them around to various rehearsals and watching over them. When we started working on stage, he was placed in a position of honor between the center footlights on the pit rail, so he could keep a good eye on us. These days he’s no longer perched on the cardboard box, he fits quite nicely below the masking for the footlights, where I’m sure he will remain for the run. Update: he’s now on top of the piano in the pit, where his view of the stage is somewhat reduced. I’m going to try to get him back on the pit rail, as I think he’s helped us out on a few occasions.

You may remember our “Lullaby of Broadway” set that was juuust a little too tall. Here it is in tech, with the top platform and escape stairs cut down by a couple feet.

And here’s a typical view from my corner of the tech table:

I don’t know where my headset is. I’m probably wearing it. But I you can see the little leather baggie that I use to keep my own personal headset safe and separate so it doesn’t get mixed in with the theatre’s. One of these days I’m going to get a nice hard case for it, as the baggie would do nothing to prevent it from getting crushed.

So tech has been going well. This show is all about quickchanges, and we took some time before our first dress last night to talk through all the major changes so the cast could figure out where to preset their costumes in the wings and work out the traffic. For the most part it worked. We had to stop only once, at the end of “Dames” which features a ginormous quickchange right in the middle of the number. Our goal for tonight is to make that change. There were a few other hiccups, with one or two people scrambling on late, but nothing to stop the show.

We had our sitzprobe with the orchestra on Sunday night, which I managed to get through efficiently while stealing selected people out of the dance rehearsal across the hall. The orchestra sounds great, and it always perks up the cast to hear them for the first time. I had arranged for the whole ensemble to come in and listen to the ballet, but alas time was short and better spent on stage dancing the ballet, so after singing “Sunny Side” they had to leave.

Tonight is our first run with the orchestra.


July 17, 2007

42nd Street Pre-production

I call this: summer stock,theatre — Posted by KP @ 3:48 pm

It’s our second week of the run of The King and I, and I’m starting pre-production on 42nd Street. On this, our third consecutive day off (I love this schedule!) I swung by the theatre to pick up some mail, and the casting worksheet and contact info for our 42nd Street cast.

My first step is to go through the cast list and make some kind of mark next to the names of people I’ve worked with before. These will be the first to go on the contact sheet, by copying and pasting from previous contact sheets. If I have their resume in my pile, I will double-check that the info I have matches the presumably more-recent info on their resume. Since I’m in no hurry, I will take the opportunity to update my personal contact files on my computer as I go along, so that my computer and phone will have everybody’s numbers on them as early as possible, before I need to call or e-mail anyone. When I get too many of them too close to rehearsals, or on the first day of rehearsal, it can be hard to find time to properly update everything. So I’m very glad to have gotten that out of the way.

Our director, Eileen Grace, has sent me her tentative schedule for the rehearsal period. I checked it for errors regarding allowed hours under Equity rules, sent back a couple notes and questions, and then will send it out to the actors I have e-mail addresses for when it’s ready. With that I have also started my calendar (see this post for the template) based on her schedule. I will fill in the details for tech and dress rehearsals after we decide on them at our production meeting.

Putting a show together is like a puzzle… the next ball I have in the air is the production meeting. Eileen and I have decided on 11:30AM next Tuesday, so I have now reached the point where I’m ready to send out an invitation to everyone else to find out if they can attend. But in order to do that I need to know who “everyone else” is, and there were a few I thought might be changing. A few e-mails answered the questions I had about sound engineer and prop master, and finally I’m able to send out the invitation.

With that straightened out, I was also able to make my “42nd Street Reports” group in Entourage, with all the e-mail addresses of everyone who will receive the report. See this post for more details about the report. I’ve even updated my rehearsal report template to change King and I to 42nd Street, so that will be ready to go on the day of the first rehearsal. The performance report is a separate template, so I can still use the King and I version of that.

The whole thing has only taken me about three hours, so not too much of a dent in my day off, but a big help in getting things ready for the next show before things start to get crazy. In fact, for both shows on Saturday most of the off-topic discussion on headset was about 42nd Street. Things like load-out, the lighting plot for the next show and how similar it will be, and how that will affect the time needed for lighting load-out and hanging for the next show. I was mostly just listening, but for the tech director, production manager and master electrician to be able to sort stuff like that out, it’s pretty helpful.

It’s a good feeling to be ahead of the game going into the last show. It’s an even better feeling once the last show opens to not have to worry about another show after it. But then of course comes the feeling of, “Oh my God, I don’t have a job!!” and “What do you mean I’m not getting a paycheck next week?” It’s very easy to fall into a routine and forget what a blessing it is to get a regular paycheck, especially one you can live on. I have one sort-of-job on the horizon, should nothing else come up, but I would love it if I had a real show lined up by the time I leave Reagle.


July 7, 2007

King and I Tech

I call this: summer stock,theatre — Posted by KP @ 10:14 pm

Done. We had a very successful tech today. Despite my bold predictions earlier in the week that we would be able to run the show or at least one act by tonight, we did not. We did, however, finish the show in less than our ten working hours. In fact — I can’t say I have ever had this experience — we finished the show, let the cast go, had our production meeting, and stood up to go home at 9:55. Rehearsal was scheduled from 10AM – 10PM. We were all shocked that we were leaving before the day should even have been over.

We didn’t really end that early, maybe 20 minutes at most. The tricky part was that we teched the show out of order. It’s always an issue in shows with a large cast of young children, especially those that aren’t getting paid, to figure out how to use the kids’ time without unnecessarily keeping them up past their bedtime, or simply wearing them out to the point where a four-year-old just doesn’t feel like going onstage or doing her blocking. So we called the kids first thing in the morning and teched all of their scenes first, which happen to also be the most complicated by virtue of having 50-something people on stage. After several hours the kids were dismissed, but we did not go back to the top of the show because the first scene change is an absolute nightmare, with only a silent and rather uncomplicated crossover to cover it. Anna, her son Louis and the Kralahome (King’s prime minister) arrive at the palace. Two sailors are following with a large trunk. They cross from stage left to stage right. That’s it. Meanwhile there’s five pipes flying, and about 20 people on the deck required to move all the scenery (for which we’ve used some of the non-union cast to supplement the crew).

Because of all the people involved and the need to assign and teach the change to the cast, we began with scene two and teched from there until the lunch break. The crew set up the first scene during the break. It’s on board a ship — there’s several flats including the ship’s cabin and smokestack, the sides of the ship, a big paddle wheel thing, a bunch of crates and trunks — a lot of it was supposed to be flown, but this goes back to the issue at the production meeting about ugly aircraft cables ruining the look. So before even attempting the scene we ran the scene change twice.

Because we weren’t attempting to run the scene, I had the unique experience of being on the deck during a crazy scene change. Normally I sit comfortably at the tech table, call the drop in, and then listen on headset to frantic banging and squeaking and calls of “Fly this out! Over there! OK, clipped! Downstage! Bring it in!” then some more banging and squeaking, the sound of counterweights whizzing up and down on the rail, then a few calls of “We’re ready. Are you ready over there? We look ready. OK, clear!” then I say, “Go,” the drop flies, and there’s a nice shiny new set on the stage. So when I realized this I went and got my camera. Unfortunately the video is not nearly as interesting as I hoped it would be. First of all I wasn’t able to get it on at the beginning because I was given the honor of calling the start of the scene change and also fumbling to start a stopwatch. And then for some reason I turned the camera off before it was completely over, probably to stop my stopwatch, or maybe because I realized how lame the video already was. But here it is, shot from stage left.

It’s not quite a well-oiled machine at this point (this was attempt #2, 1 minute 15 seconds), but after this we went back and ran from the beginning of the show through the scene change, and the crew and crewlike castmembers were done quite a bit before the onstage cast, who were expertly dragging out what could have been a 10-second cross into an entire play about people walking down a hallway. I’m sure it will only get faster. Actually, the show was written with a whole silent scene there in which we see the palace dancers preparing for the next scene in which they dance for the King — purposely put there to fill time while this unavoidable Huge Scene Change takes place. The alternative if you have a quick scene change is for Anna and company to simply walk across the stage with their boxes in tow. We went the optimistic route, mostly because all the large pieces were supposed to fly, but I think it’s going to be fine.

So after running that change successfully, we then skipped ahead to where we were when we broke for lunch, and continued from there in order, but skipping the second half of the last scene in Act I, which we covered earlier with the children. People love speculating about how long tech is going to take. I’m an optimistic person, but I’m also a realist, and I also know it’s better to make pessimistic guesses so people won’t be disappointed when it takes longer. By lunch we knew we were moving along well, and people would say so, but then in a low voice they would usually say, “We’re going to be spending all night on the ballet, aren’t we?” “Do you think we’ll end the night with the ballet?” “The ballet is going to take a long time, isn’t it?” I think we got to intermission somewhere around 7PM. This was when a lot of the real speculation started. My answer was, “Yes. Hours. I expect 1-2 hours, but I think we’ll still finish the show.” I wasn’t keeping score, but I think it probably took a half hour to 45 minutes.

First of all, you may remember I got to see the entire ballet on the third day of rehearsal. The dancers know it inside out, so there was no problem there. They did it in costume for the first time, and aside from Simon of Legree’s giant mask/headpiece being too loose on her head and having to be removed, they didn’t seem to miss a beat with the addition of costumes. This isn’t a dress rehearsal, but in many cases we added costume pieces when possible and where they would cause potential issues, like for dancers. We had a few small things to take care of, like spiking the location for the gong, and assigning who places it. Once we had done those kind of housekeeping things, we ran it once and were due for a ten minute break. Gemze seemed pretty happy with it, and declined to work anything or give formal notes before running it again when we were back from the break. The second run was especially helpful as we had some followspot assignments that needed to be worked out in a more efficient way, which we applied the second time through.

I said yesterday I was worried about the rapid pace of cues and losing my place among all the “Run, Eliza, run”‘s, but when the time came I didn’t have any trouble. My first attempt was not at all embarrassing, which was a nice change from the Singin’ in the Rain ballet, where up until the final performance I was never quite sure if I was about to make an ass of myself. The key with this one is that it requires 100% concentration, and with that it’s actually quite easy to call. I just can’t lose my place or fall behind, because there’s not much time between cues, and once you’re lost it’s not immediately evident where you are in the script.

After the ballet it was clear sailing. One by one ensemble members with little to do in Act II were dismissed. We were not running the finale or bows because we did them earlier with the kids. By the end of the day we were down to a book scene with just a couple actors, right before the finale. And thus, with a gentle sigh, ended our tech, about 15 minutes early.

Tomorrow we tech from 10:00AM – 6:30PM. We had hoped to do two runs, but we have already scheduled a 2:30 run. Because of the need to give the kids a definite call time regardless of where we ended up today, we scheduled an afternoon run in advance so they could just arrive at half hour. I picked 2:30 because I didn’t feel comfortable with less than four hours to run the show (I’m guessing it will ultimately clock in at about 2:45 with intermission), give notes, and allowing extra padding for any unforeseen disasters. So that means a 1:00 lunch, and we’re not going to be able to call the cast, get them in mics, and run the show in three hours. I mean it’s conceivable, but highly unlikely. So we’re going to do the same thing we did tonight and skip the kids’ scenes since they won’t be there. Then we run in the afternoon, and after dinner the orchestra has their first rehearsal, which also serves as a partial sitzprobe for the cast to sing with the orchestra for the first time, before they have to do it on Tuesday in dress rehearsal. For this sitzprobe we are calling the singers and dancers who are in the ballet, so they can hear tempos and such and avoid any problems, and once that’s done they’ll be released. Then the principals will stay to sing their songs and make any necessary changes or requests. Then we go home to enjoy our daylight day of rest.


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