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May 31, 2010

It All Seems So Simple

I call this: summer stock,theatre — Posted by KP @ 3:07 pm

Today is my last day of preproduction before beginning rehearsal for Into the Woods at The Reagle Players. I’ve settled into my apartment, and have parked with my laptop in my favorite spot on the couch next to the living room window, where I go when I want to pretend that I work in a job that lets me see windows, as I listen to the cast recording playing in the background.

I just finished entering everything into my event list, which is kind of a master table where the database tracks every rehearsal and performance. It’s from this that it knows that something is performance #6, for instance. It also allows it to fill in certain details automatically when I create a report, based on the current date. On tour it’s more interesting, because based on the date it knows the performance time(s), type of performance, what city we’re in, the name of the theatre and capacity.

Anyway, one side effect of this table is that it very concisely summarizes everything from first rehearsal to closing. And this is what it looks like for Into the Woods:

It looks so small and simple, but it feels so hard at the time. The only other show I’ve had this part of the DB for was R&J, and that had 111 records. This only has 23, so I’ve always thought of this table as something that has to be scrolled for many pages, and it’s strange to see it so short. I’m not sure if I’m depressed or encouraged by how quickly the next month of my life can be summarized, but I suspect I may be encouraged. I think it fits the attitude I always try to have towards it: you just have to give 200% for two straight weeks, and then it’s easy. There’s even a day off somewhere in there.


May 5, 2010

The Space Pen: A Stage Manager’s Best Friend

I call this: theatre — Posted by KP @ 2:42 am

If you’re a stage manager, maybe something like this has happened to you:
You’re out at dinner with your cast or crew, and at the end of the meal everybody is paying with credit cards and the waiter drops off the receipts and doesn’t have, or forgets to leave, a pen. Then everybody looks at you — and this is one of those evenings, you’ve dropped all your stuff at the hotel or whatever and are enjoying the rare opportunity to just go somewhere without lugging all your crap — and you don’t have a pen. And then everyone else at the table is like, “What? A stage manager without a pen?”

You may mutter something about not being at work, but then secretly you spend the rest of the outing suspecting that you may be a failure as a human being because you are at once a stage manager, and not within reach of a pen 24 hours a day.

This exact event has happened to me a lot in life, but as a kid who used to wear a pocket protector in my Catholic school uniform shirt (simultaneously with a fanny pack, while lugging an overstuffed backpack as big as me), I have fought hard to convince myself that it’s OK not to carry the kitchen sink on my person at all times.

Recently the above situation happened several times in one week, and aside from the embarrassment, the actual inconvenience of not having a pen started to get to me, and I decided that it’s time for me to suck it up and carry a pen everywhere I go. I already knew which pen it would be, one that I already purchased for this purpose years ago, but didn’t adopt steady use of.

Ever since I forced myself to start carrying it all the time, I have been surprised how many times it’s come in handy. Sometimes I forget I’m carrying it, and it’s been very exciting to discover, “wait, I do have a pen!”

I don’t want to recommend a specific pen too strongly, any compact pen would be better than none, but this one is a very good choice. It’s very small and smooth so it fits comfortably in the corner of my front pants pocket, it has a clip so it won’t fall out, and it’s a matte black so you can always be wearing it, even in show blacks. It’s very small when the cap is on, but very well constructed so that it is full sized and well balanced when you are writing with it.

Being a space pen, it can write for long periods against walls and at other odd angles you sometimes end up needing to write on backstage, as well as on wet paper (such as drawing on a cocktail napkin when having a debate with your crew), in extreme temperatures, and, if your show should be going on a really expensive, really long-distance tour, in space.


March 18, 2010

iDisk Syncing for Stage Management Files

I call this: On the Road Again,theatre — Posted by KP @ 9:59 am

Naturally being on tour I have a lot of documents to take care of. A lot of them have to do with schedules — there’s the cast schedule, the crew schedule, and the city sheets. Somebody always wants to know something, and there are a number of individual, constantly updated, documents which contain that information. I was finding it really hard to keep up with having the latest documents immediately accessible on my phone. I found myself saying, “I have that, but it’s on my computer,” way too often.

What I came up with is a solution using MobileMe’s iDisk, though I’m sure you could cobble together some other method if you’re not a MobileMe subscriber.

I have turned on iDisk syncing from System Preferences, which I’ve never really liked because frankly MobileMe / .Mac has always been really slow, and I don’t want it to spend any more time syncing than it needs to. However, I’ve never really bothered to use my iDisk to store files that I need frequent access to, so now it seems to be more worthwhile.

For a while I’ve had an alias folder on my desktop that links to a folder in my Acting Company folder, where all the schedules and city sheets were laid out in chronological order. This gives me easy access on my desktop — using OS X’s QuickLook feature, I don’t even need to open the files to read them. But it wasn’t helping me to have access to the latest copies of those documents on the go.

I moved that folder to my iDisk, and turned on iDisk syncing. Now I have access to the iDisk-hosted folder if I’m offline, which then syncs back to the online copy when I’m connected to the internet, and I can access the files using the rather nice (and free) iDisk app that Apple provides for the iPhone.

Here’s a picture of how I have the folder arranged:

I have the available city sheets on top, followed by the cast schedules (with the yellow labels), and the corresponding crew schedules (in green) underneath. This allows me to flip back and forth at a glance and see visually what the relationship is between them.

You can’t edit documents on the iPhone using this technique, but mostly I just use this folder to reference other people’s schedules when making my own. When I get an email with an updated version of the schedule, it takes about 3 seconds to drag it to this folder and overwrite the old one, and then I’m updated everywhere!


March 8, 2010

Nick’s Signage Purse

I call this: On the Road Again,theatre — Posted by KP @ 10:15 pm


Nick’s signage purse deserves its own post.

During the few days that Nick was off the tour, I had the opportunity to do his job myself. One of the things I have always been dissatisfied with is how we have organized our signage. All our signs live permanently in sheet protectors and there are many different types, and they’re slippery, and carrying a bunch around, along with tape and a dry erase marker, is a huge juggling act. And carrying just a few is a pain because you can’t just make a path around the theatre, you have to keep coming back for more.

So I grabbed an expandable folder thing, which was used by our predecessors and filled with old signage, took out all the old signs, and categorized it for our signs. When we got to New York, I showed my rough creation to Nick, and we both agreed that it needed a shoulder strap, because holding the folder was only slightly less annoying than holding the loose signs. So we cut a bunch of tieline and sized it for Nick. At first he was not happy that the folder was pink, but soon embraced it.


March 3, 2010

Stage Management Scripts

I call this: theatre — Posted by KP @ 9:42 pm

I’d like to call your attention to a new page on the site, called Scripts. It can be found under the Tools / Templates pages, although I hope to restructure those pages yet again when I’ve got some more templates, which is one of the things on my short list to do now that I’ve resigned from my position of nerdly responsibility in the MMO I play.

Right now there is a very, very small section on blocking scripts (which only exists at all because I think it’s tacky to have it just say “coming soon” so I threw a little bone in the form of one somewhat blurry picture of a recent page of blocking).

Mostly I have added some info about calling scripts, which I plan to build on later. What I do think is cool so far is that since my current show (Romeo and Juliet) is in the public domain, you can download my entire calling script as a .doc file and .pdf, so you can see how it’s formatted and play with it. And if you’re really, really crazy, you can come see the show and follow along!


February 23, 2010

New York

I call this: On the Road Again,theatre — Posted by KP @ 5:24 pm

It’s been a while since I’ve blogged. We’re running in New York, which you’d think would lead to more free time, but it’s quite the opposite. To start with, I live an hour and a half from the theatre, so that’s three hours less in my day to be productive.

We have rehearsal or two-show days every day except for our opening night, when we just had a 6PM show, followed by a great party at Cibo. However, that party was followed by having to be at the theatre the next morning for a full day of rehearsal and performance. In the middle of all this, we have one day off coming up, but I suspect most people, like me, have a full plate of fun things scheduled for that day, like laundry and doing their taxes.

Baruch is a very different kind of venue from any we’ve played with this show so far. It’s a black box, and the set just barely fits. We actually removed the front row in the middle of the first preview, after spending the entire afternoon figuring out how not to skewer them during the fights. We have some modified blocking, and almost all the spike marks have changed to move the furniture upstage. We have a nice way to handle this though: our deck is marley, and has always had the spikes traced with paint pen in case they peel up. When we needed to respike we just peeled up the tape and put new tape elsewhere, touching up the paint-pen marks where they’ve gotten faded. When we go back on the road we’ll just put the tape back on the pen marks. It also came in handy during understudy rehearsal yesterday, where we wanted the understudies to do the real blocking — the original spikes are still there to use.

So basically this has been no vacation (thankfully we do have a 5-day vacation at the end of March!), but it’s been nice to be home anyway. I wish I could be here long enough to make it worth my while to spend time settling in.


February 13, 2010

Adventures in Calling

I call this: On the Road Again,theatre — Posted by KP @ 2:48 pm

So far on this tour, since we left the Guthrie, every single performance has offered some new challenge to me in calling the show. I haven’t minded it, it’s kept a very simple show interesting. After running at the Guthrie, the one thing I’m most comfortable about is my ability to call the show, so I’m more than happy to make that harder for myself if it makes somebody else’s job easier.

In reverse chronological order (newest first), I will keep this post updated as I have more adventures.

Morgantown, WV

Again, due to Nick being gone, I’m more inclined to call from backstage even under somewhat less than ideal circumstances. There’s not a calling desk here, or a camera, and the view through the masking is a little chopped up, but in completely unrelated developments, we’re all using the house wireless comm, and so I decided that being on wireless, I can stand up and move around if I can’t see something from where I sit.

Fairfax, VA

I called from backstage again, but this time with a worse view of the stage, but with cameras. So it worked out just fine, but it was the first time I’ve had to really rely on a camera to see what I needed to see (aside from tech and the early part of the run at the Guthrie, when I was using the infrared). The real challenge, however, was that Nick had to go home for a few days, and needed to leave during the second act. He trained Bobby on his track before the show, and then watched as much as he could before he left, but really Bobby had to do the show for the first time on his own. The track is really easy, but it does require a certain extra bit of attentiveness on my part as well, because I have to be really paying attention to make sure I’m giving all the warnings at the right time, and thinking ahead to each sequence to see if there’s anything that should be explained ahead of time that might be disorienting to someone who had never heard it before.

Pittsfield, MA

This was a really big challenge. We didn’t do the show with our own light plot. We used the venue’s rep plot and focus, with our color in it, and a few specials, as well as our set-mounted lights, which are pretty numerous. Basically the entire lighting design had to be recreated from scratch using whatever we had at our disposal. Corey, the staff director, asked Devon and I to create six different looks which could be used to roughly cover the whole show. I took out my backup calling script and on the drive to Pittsfield, scratched out the internal cues we wouldn’t need.

Due to the ease of load-in for the set, we had time to be more ambitious. We created the six basic looks first, and then started at the beginning of the show, modifying each one to better adjust to the needs of the scene and the feel of the original cue. After four hours, we had almost 50 cues (the show only goes up to 135 to begin with).

I marked up my backup script for calling this particular performance, which is a lot easier than modifying the main calling script and then removing the changes. This way if something like this should have to happen later in the tour, we will still have a script to base it on. I took the time to hole punch it, but then decided I didn’t need to bother to put it in a binder.

In a way it was an easy show because I had less cues to call, but I had to be very alert to which cues were in, and in a few cases made decisions on the fly to move cues where we replaced a multi-cue transition with a single cue. The show looked really good — when we saw it, we were actually amazed at how close it looked to the real thing.

New London, CT

This wasn’t so much a problem, as an opportunity. There wasn’t really a decent front-of-house position for me to call from, and there was a really nice calling desk stage right. Every venue has slightly differently-spaced masking based on where the available linesets are, and this one seemed to have a pretty clear view to the deck from where the calling desk was. I decided early in the day, based just on the lines drawn on the marley and where the legs were in the air, that I could call from backstage, despite the fact that there was no camera.

Indeed that’s what I ended up doing and it was awesome. I generally love calling from backstage most of the time, and it was great to be able to see the actors close up and watch the show from another angle. I also like to be back with everybody and feel like part of the backstage world. I took over the stage right cues that Nick does with hand signals, and I would have gotten to use the remote to turn off one of the remote-controlled candles, but the local guy who was supposed to do it had already been told about it, and I didn’t feel it was right to take away the one somewhat interesting thing he gets to do in the whole show. Someday. Someday.

Now that I know how easy it was to see all my cues, I can be a little more liberal with deciding if I can call from backstage in a given venue. Unlike Henry V, in which the whole set was a wraparound semi-circle, this one can definitely be called without a camera if the masking is in the right place, so that increases my options.

This is the calling desk during load in. That big binder isn’t mine, that’s the lighting book. None of that crap is mine. During the show, I had my script and my computer on the desk.

St. Cloud, MN

Everything was actually fine here, but the calling position was literally right behind the back row — at a table, not behind a booth wall or anything. So calling clearly enough to be understood by a crew unfamiliar with the show, but quietly enough not to disturb the people three feet in front of me was a challenge.

Appleton, WI

The house wired comm was having trouble talking to our wireless system, so I called the show wearing two headsets — thankfully they were both lightweight, and to be honest, it wasn’t as uncomfortable as you might imagine. Making sure both booms were near my mouth was the most difficult part.

I prefer to call the whole show on all channels so everyone hears what’s going on, but in this case I told them I would be calling only to the channel involved in most cases. I was just afraid of fumbling with both talk buttons and screwing something up if I was always trying to activate both.

Grand Rapids, MN

Monitors so quiet that I couldn’t hear the show beyond mumbles. Once you know a show well enough, it’s pretty easy to know what the actors are saying just by their inflection, but the downside is you have to follow where they are in the text very carefully so you don’t get lost.

Moorhead, MN

We had a bad headset cable, which caused me to lose comm twice within the first few minutes of the show. I was across the booth from the light board and the sound console was right outside the open booth window, so I was able to keep things going until we got it fixed.


February 10, 2010

Winter Wonderland: I Wonder if We’ll Have a Show

I call this: On the Road Again,theatre — Posted by KP @ 12:39 pm

The big snowstorm has hit the northeast — the forecast to which we said, “Ha! Sucks to be them!” until we realized we were returning to the northeast. Damn!

We’re in New London, CT, which was lovely yesterday for our full day off, but today is quickly filling up with the white stuff. It may not look like much in the photo, but it’s really coming down, and Nick, who has been our bus-based meteorologist, says the forecast predicts 8-12 inches by 6PM.

We had an 8AM load in, which began at 7:30 with Bart driving carefully down streets already covered in a thin layer of snow. By the time we were unloading the truck, it was coming down pretty heavily. The presenter was already in meetings about whether we’d have a show tonight, or a school show tomorrow morning (which has more to do with the schools being closed than the theatre).

Because the theatre has very little storage space, we left the set on the truck until the last minute (and also because if the shows were cancelled early, we wouldn’t have to unload it). Also, there’s no loading dock, so taking things up and down the ramp and down the sidewalk in the snow is not something you really want to do if you don’t have to.

Here’s Juliet’s balcony, just delivered to the theatre, having accumulated a thin layer of snow on its trip around the corner from the truck.

We’re moving along at a very good pace, and at this, our lunch break, have most of the walls up. I’m calling focus again, and we’re most of the way through all the instruments we can focus before the set is finished. We’ve had three or four electricians going at once, so I’m getting a little more of a mental workout.

In other news, it’s very nice to be back in the northeast. Yesterday on our day off, Nick and I walked down to the waterfront, where the Amtrak station is, and the pier looks out on the river. I wanted to see a submarine float by, but no such luck (or maybe it did, and I wouldn’t know!) Being around the waters of Long Island and Connecticut reminds me of my childhood, so it was a nice way to come home to this region after being away since late November.

UPDATE!

The evening show is canceled. Tomorrow’s morning student show may still happen, so we have to continue working.


February 4, 2010

Tour Week 1

I call this: On the Road Again,theatre — Posted by KP @ 5:47 pm

We are now halfway through Week 1 of our actual touring schedule. Apparently, unless my dashboard widget is lying to me, it’s Thursday. Before I looked at it, I thought it was Saturday, but felt that was probably just my imagination and it’s really Friday. But no, I guess it’s Thursday.

Our last venue was in Grand Rapids, MN. The venue was in a high school, but gets a lot of touring shows. It was a very nice, intimate theatre with a semi-thrust stage. Unfortunately our show is designed for a proscenium, so due to the lighting needs, the first electric has to be over the edge of our marley deck, so we couldn’t use the apron as a playing space.

We’re in Appleton, Wisconsin. Last night during load-out in Grand Rapids, MN, a bunch of us were sitting in the green room finishing up paperwork, and I pulled up my venue database, which has many features, including that it automatically pulls up the Wikipedia page of the city in question. We learned many things about Appleton. Apparently in the late 1800s it was kind of a big deal — it had a large paper industry, which spurred development of electricity far ahead of most cities. We also found this interesting because our show takes place in 1912, and has a little throughline about how excited the Capulets are to have electric lights at their party. As I said to the assembled crew in the greenroom, “Appleton’s gaslit streets were replaced with electric lights in the year…” and everyone said, “1912!”

In addition to having been a pretty big deal back in the day, Appleton also has a very new, very fancy theatre, the Fox Cities Performing Arts Center. The theatre seats almost 2,000 and has three balconies, in a horseshoe configuration.

We’ve had some young and eager student crews (I have no idea what has happened to the poor high school kids we kept up till 3AM last night, but their parents must be pissed at us!), but today we have an honest-to-goodness IATSE crew. Sometimes that can be a mixed blessing, because a non-union crew can be used more flexibly, and we can pitch in to do more of the work ourselves if necessary. But at one point today a few of us were standing around watching a group of about six or seven stagehand-looking stagehands (men and women) putting up the walls and platforms of the set, and we remarked to each other how exciting it was to have an IATSE crew. It’s really a completely different energy.

Here’s a picture of our set facing out towards the house.

Last night at some point late in the day, our lighting director, Devon, mentioned that to speed things along, he would like me to call focus. Now, I am well aware that in the “real world” of touring, one of the stage managers generally does so. I have hung out with friends doing focus on the Phantom tour, but I am a bit embarrassed to confess I’d never had to do it myself. So when I was asked, I was rather excited because it’s something I need to get experience doing, so that I don’t make an ass of myself when Broadway calls, now that I supposedly have “touring experience.” Then I realized where we were going today, and I was kind of mortified. I told Devon, “You couldn’t have asked me to call focus with the high school kids? I would have been perfectly confident to do it with a high school or college crew. But I have to do it for the first time with an IATSE crew?”

It actually went really well. We only had one or two guys focusing at once, which was a relatively easy way to get into it. I also had no familiarity with the lighting channels used in our show and what they do, and now that I’ve seen it once, the order in which one would want to focus makes logical sense. We aren’t completely done at this point — we had to skip the lights that need to be focused on the balcony, because it’s not assembled yet.

For once, we don’t have a show tonight — but we do have a 9:30AM show in the morning, so all our work has to be done. It’s good that we have some flexibility because we got here late. The driving time between our load-out last night and this morning’s supposed 8AM load-in was far longer than the time we had. Once load-in is done we will get to check into our hotel and have a shower for the first time in a few days. Then we’ll do the early show and have the rest of the day to spend in Appleton.

For additional reading, I suggest the following of Nick’s blog posts. He has already said pretty much exactly what I would say if I went into detail about our first two venues:
Moorhead, MN
Grand Rapids, MN


February 1, 2010

On the Road

I call this: On the Road Again,theatre — Posted by KP @ 5:15 pm

This morning was our first load-in. We finished load-out from the Guthrie around 2:30am, and after saying goodbye to our local crew, were on the road and in bed by around 3:30.

At around 7:45am I was greeted by a voice outside the curtain of my bunk saying, “Good morning! Happy first load-in! It’s one degree outside!”

In some sort of tour-booking cruelty, after two months in Minneapolis we’re going north, to Moorhead, MN. It’s right next to Fargo, if that helps you place it on the scale of places-you-know-are-generally-cold-in-February.

It is indeed cold, but not as windy as Minneapolis tends to be. The entire surface of the ground is covered in about a half-inch sheet of ice, and it’s been snowing all day. To add to this, our bus could not park near the theatre, so it’s either a long walk or a short drive away. Nick and I searched for it for an hour, missing it by just a few yards at one point, but we did get to see the four corners of the campus of the University of Minnesota at Moorhead while looking. That was hours ago, and my feet are still frozen.

We’ve been working on our signage today, and once we leave the bus, we’ll be hanging it up, and then getting ready for the arrival of the cast. The crew here seems great — very eager and friendly, so I think it will be a fun show.

I already miss our Guthrie friends a lot, but I’m also excited to see who we’ll meet in all our other cities.


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