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January 31, 2010

Goodbye to the Guthrie

I call this: On the Road Again,theatre — Posted by KP @ 6:27 pm

The day has come — after spending our entire process here, since Dec. 1, it’s time for us to leave the Guthrie and go out into the wide world.

It’s been even more fun for me to be here for the second time. I didn’t have to spend as much time figuring out what I need to do, and who I need to talk to in all the many departments that keep this place running. Also, being on one of the mainstages was a change, and brought a lot of new experiences we didn’t have last year.

I’ve seen many cool pictures of the Guthrie, as there are many cool things to take pictures of, but this is my absolute favorite, that I found on Flickr (click to visit the photographer’s page).

Guthrie Theater, Minneapolis Minnesota

There’s so much I could say about this place, I wouldn’t really know where to start or end. If you’ve been reading through my “On the Road Again” posts from this year or last year, I’ve said a lot of it along the way. What stick with me most of all are three things:

1. The kind, talented, and fun people who work here and care deeply about the work that is put on here

2. The blessing of having a facility like this to work in, that’s thoughtfully designed to assist in production, but also inspires the creative process with its beautiful architecture and sunlit spaces.

3. The intelligence, sophistication and generosity of Minneapolis audiences. The pride that the people here take in their many theatres is really amazing, and it has always been a pleasure to give performances and talkbacks here.

I’m very grateful to have been able to work here twice, and I hope to be back again soon!

And now, placing tongue in cheek a bit, I have devised a graphic that captures what the experience of working here has been like for Nick and I, who spend most of our time in the ragtag world of New York Off-Off- and lesser Off-Broadway theatre, where if you have internet and enough room to tape out your set in the rehearsal room, you’re living like a king.

Working in a regional theatre that operates year-round with the same staff has been a bit of a culture shock, because everything is so specifically organized and every little thing happens exactly the same way on every show, so everyone knows what to expect. We’ve come in like a very small bull in a very large China shop, and especially this year with our previous experience, we’ve been working hard to knock over as little as possible while fitting our process into the way things are done here.

Whenever I talk about the Guthrie, being a geek, it tends to come out in Star Trek metaphors. Last year I was fond of saying that I wouldn’t be surprised if one day the Guthrie lifted off from the bank of the Mississippi into space, as a fully self-sufficient traveling intergalactic theatre platform.

The more specific Star Trek metaphor that I often find myself using is the Borg — in the most loving possible way something can resemble the Borg — mostly because of the system of paperwork that has to be done with certain forms, and only on Guthrie-supplied computers. If you are to do a show here, you will be assimilated. Nick and I didn’t have to get any implants, thankfully we had a Guthrie Intern Interface which handled most of the translation for us. But I think especially this year we’ve learned to become one mind with the Guthrie Collective, and I hope our hosts have not found us to be too disruptive to the normal routine here.

And so, I have created this image in honor of our assimilation:

For anyone who has worked here it will be self-explanatory, but the flashing thing is the ubiquitous door lock that prevents access from pretty much everywhere to anywhere else, unless you have your magical Guthrie badge on you.


January 30, 2010

Eating and Calling

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

Attention stage managers:

I have decided this weekend it’s not advisable to eat Animal Crackers while calling a show. They seem to have some kind of throat-coating qualities that make me have to clear my throat a lot. So beware.

My favorite thing to snack on while calling a show is Smarties candies — because if you want to savor them, you can suck on them, but if you suddenly have a cue coming up you can easily chew them and have them gone quickly. It’s also interesting to eat them if your light is very dim or gelled blue, because it can be hard to see what color you’re putting in your mouth, so it’s always a surprise.


January 29, 2010

The One-Hour R&J

I call this: On the Road Again,theatre — Posted by KP @ 6:35 pm

This is my post where I talk about the one-hour condensed version of Romeo and Juliet that we’ve been rehearsing in between performances of the full R&J, which is designed for younger student audiences (roughly 5th and 6th grade), schools that for some reason can’t come to see the Big Show, or to be performed in places where the Big Show can’t go.

The beauty of the show is that it can scale down to the tiniest venue imaginable. The only requirements are some floorspace (even a regular classroom would work) and 16 chairs (3 of which have no arms and can be stood on), which are provided by the venue.

The actors wear street clothes, and the only props are carried around in a small trunk under the actors’ bus.

The reason the trunk is on the actors’ bus, as opposed to say, on the truck, is that one of the tricks the 1-hour does is to be able to perform in a city the day after the Big Show performs. When the Big Show comes down, the set is immediately struck, and within a few hours of the end of the show, everything is packed up and the truck and the crew drive through the night to the next venue, where the load-in starts at 8AM, for another show that night.

Meanwhile, the cast wakes up the next morning in the same place they went to bed, and boards their bus to head to a school, or sometimes the same venue from the night before, only now on a bare stage. The 1-hour can be performed without any support from the Big Show — all the props are different or duplicates of the show props, and in our case this year, the only sound support will come from a boom box with a CD in it.

There’s only one tricky fact, which leads to the part of the 1-hour that most affects me: if the crew already has the set halfway up, hundreds of miles away, by the time the 1-hour starts, how to stage manage it?

The solution The Acting Company uses in these cases is that the ASM stays behind in a hotel and travels with the cast to the 1-hour performance, and then rides on the cast bus to the next venue, while the PSM loads out with the crew as normal, and advances the Big Show. This is necessary because sometimes immediate decisions need to be made based on the situation found at the venue, which might impact everything from where the set is placed to what spaces should be set up as dressing rooms. The PSM is the person who has to be available when the call comes over the radio, “I need you to come look at something…”

When I took over as PSM last season, I was given very little instruction on how the 1-hour worked. The above situation was explained to me, in the sense that the ASM needs to be able to do the 1-hour self-sufficiently. Now my personal philosophy of management is that if you’re going to make someone responsible for something, you have to also give them authority over that thing (i.e. if the ASM is dealing with props, they are in charge of props, and I won’t do a thing that involves props without clearing it with them.)

So in the spirit of The Acting Company, and its mission to bring professional theatre to new audiences, while also giving young theatre professionals a chance to work on their skills, I took the approach that the ASM should essentially be the PSM of the 1-hour show. I don’t know if this is exactly how it was done before, but in my mind it makes a lot of sense.

Contractually I’m the PSM of all 3 shows we’re touring with, and I’m responsible for the operation of the tour in general, so I can’t entirely check out when it comes to the 1-hour. I could step in if something truly ill-advised was happening, but I’ve never had to do so, and I doubt I ever will.

When we started 1-hour Henry last year, I told Nick he was in charge and could organize things as he saw fit, and in cases where I was around, he could use me as his assistant. It’s nice for me, because I get to switch gears once in a while, and it’s good for Nick because he gets to do the tasks and making the decisions that a PSM gets to make. Some may be big or small, but I think the concept is pretty brilliant. What ASM doesn’t hate something about their PSM’s show report or other paperwork? — or maybe while assisting, thinks of something new and has to wait for their next job as a PSM to get to try it out. So the 1-hour is like a sandbox for the ASM to do things their way.

It’s also good for me, because I don’t assist that much, and when I do it can take time for me to start seeing things the right way. Until I get my head around which job I’m doing, my brain doesn’t naturally react to situations in the way most helpful for an ASM or PA. When a director asks for a prop to be used in a scene, for instance, my instinct is to take a note first, rather than to hop up and get the prop. To have to switch between the two from day-to-day or hour-to-hour within the same job is an interesting exercise.

It’s also been funny these past couple weeks because we’ve been rehearsing every day around our performances, but alternating from day-to-day between Alice and 1-hr R&J. We’re in the same room, we don’t even bother to switch seats because Nick, Ashley and I have had “our” spots at the desk for months now, and there really aren’t many clues as to who’s supposed to be in charge each day.

The other day in 1-hour rehearsal, we were sitting at our desk on a break, and Nick said, “We’re back,” and while finishing up what I was doing, I said, “Thank you.” Then I got up out of my chair, and while crossing to close the door, said, “I mean, yes sir!”

Nick gave me “the look,” and I explained that whether he heard the difference or not, my “thank you” was the PSM thanking the ASM for pointing out the time, not the ASM responding to the PSM’s declaration that the break was over, and I was trying to get myself out of that frame of mind.

I think I was successful because the following day at Alice rehearsal, I was repeatedly disappointed to realize that I was in charge!

Required Reading

For the opposite perspective on the 1-hour, you must read

NICK’S POST

No, seriously, you must. Click on it now. If your browser isn’t total crap, ctl-click on that link (on a PC) or cmd-click (on a Mac) to open it in a new tab, and as soon as you’re done with this, read it. It’s a really good post.

So good, in fact, it got a special entry in the Guthrie’s Big Blue Blog. I might have felt a little left out, were it not for the fact that Nick and I had already had a conversation in which I said it was such a great post that I was just going to add a little bit and then put a giant link saying, “Read this!” Well as it turns out, I had a little more to say about it than I thought. But still, read Nick’s post. He covers some other stuff, as well as the whole PSM/ASM dynamic from the other perspective.

Okay, go now.


January 23, 2010

Small Wonderful iPhone Moment

I call this: phones,tech — Posted by KP @ 9:03 am

This afternoon during rehearsal I got an email from Hunter, who runs the accessibility program that provides a variety of ways for audiences with disabilities to experience Guthrie shows. He wanted to get a transcript of our preshow and intermission announcements so they could be added to the captions for our performance tomorrow night.

I had an older version of the preshow announcement, but they both had been somewhat improvised when they were recorded, so I didn’t have anything with the exact wording of the current announcement.

During the preshow sound check I asked our engineer, Jake, to play both announcements for me while I used the voice recorder on my iPhone to record it, so I could later write it out for Hunter. It so happens, as I was doing so, Hunter came into the house to prepare for the sign language interpreters we had tonight. He saw what I was doing, and said that if I just sent him the audio file he could handle it. So right there, with a couple clicks, I emailed the file to him, and was done.

It’s not the most exciting thing ever, but it was just one of those really simple cases where something can be handled so much more elegantly than ever before with modern technology.


January 21, 2010

Morning Matinees

I call this: On the Road Again,theatre — Posted by KP @ 11:47 pm

This morning was the last of our 3 consecutive 10:30AM student matinees this week. Some people might look at that and think that after getting over our morning sluggishness, we must be enjoying our evenings off at least. Well no. We have been back in the rehearsal room, working on the 2nd and 3rd of the shows we are doing this year: Alice in Wonderland, and the 1-Hour Romeo and Juliet, which will be performed for student audience that are too young, or for whatever reason are not going to see the full-size show.

After our early shows we have a lunch break, and then 5 hours of rehearsal, until 8PM. So we’re certainly not resting on our laurels despite the fact that the theatre is dark in the evenings.

As for the morning shows, it’s been very hard to get up in the morning. A morning matinee is very hard to prepare for if you haven’t done one in a while. I was thinking this morning that I have no idea how I’m going to deal with 7:30AM bus calls and 8:00 load-ins when I can’t handle a 10:30 matinee.

It’s definitely an acquired skill. The one good thing is that when we have the bus, it’s easier to get out of bed when our beds come with us. If we have some free time during the day, it’s usually just a few steps outside the stage door, where we can take a nap in our own beds, so that makes it easier to get up.

We’ve been working on Alice for two days, then spent today on the 1-hour for the first time. Tomorrow at noon we have more Alice, and 30 new pages of revisions based on exploration we did earlier this week, which just landed in my inbox as I got home. In the evening we have a regular performance of R&J, which everyone is very curious to see the effect of, now that we’ve gotten accustomed to this strange routine of performing in the morning and rehearsing in the evening.


January 19, 2010

Teaching the Database to Speak

I call this: tech — Posted by KP @ 2:40 am

I have to tell you what I learned tonight. I must caution you, there is some geek-speak below, in as plain terms as possible.

I was watching a screencast from Filemaker, about the fun new things you can do in Filemaker Pro 10. This isn’t really news to me, as I’ve been using v. 10 for months, and the last version I owned before that was v. 7. But this particular screencast began by talking about the ontimer script feature. That’s not something I’ve really worked with much, except that I have a Filemaker clock that I found online, and basically tinkered with just enough to add it to my database, without exactly understanding how all of it works.

This screencast explained it (it’s actually really simple, it just executes a specified script every however-many seconds), and suddenly I figured out how to do something that I knew was theoretically possible, but thought was outside my programming knowledge: to get the performance report to remind me to make calls based on what time it is.

The report already has an “intermission calculator” where I can enter how long I want the intermission to be, and based on the end time of Act I, it displays what time I need to call 5 and places (assuming it takes 3 minutes from calling places to actually being able to start). It does the math for me, but it doesn’t help to remind me in any way, I still have to keep watching the clock.

Well using the ontimer script, which I have running every 10 seconds when the performance report is loaded, it records the current time as a variable, and then goes down the list of possible calls (30 minutes, 15 minutes, 6 minutes, and 2 minutes before the scheduled start time, as well as the “call 5 at” and “call places at” times from the intermission calculator), comparing the current time to those times.

I added a series of fields to each report that corresponds to each call that needs to be made — by default the value is 0 (the call has not been made). The script looks through each of the possible calls whose value is 0, and then looks to see if the current time is greater than or equal to the time one of the calls is due. If so, it says — out loud — the call (i.e. “Half hour please”) and then displays a pop-up window saying “Call half hour now!” Once this window is dismissed, the call field changes from 0 to 1, and from that point on, the script no longer worries about that call.

It’s absolutely hysterical. But most of all, it’s going to be very handy. From here pretty much anything is possible. Now I’ve got it to send me a text message when it makes a call, so even if I’m not in the booth I’ll get the call wherever I am (except for the places calls, where I should already be in the booth). At the end of the script it checks to see if all the calls are marked as “1” and if so, it ends the timer script.

I can’t wait to start using this tomorrow!

I’m so excited I made a movie demonstrating how it works. I suggest watching it at Youtube where it’s in higher resolution.


January 18, 2010

Callboard Envy

I call this: On the Road Again,theatre — Posted by KP @ 2:59 am


This is our callboard at the Guthrie. We pretty much set it up according to how it’s already laid out. Actually I have no idea how it got there. I think Ashley did it. Or maybe Nick. Certainly I had nothing to do with it.

My good friend Josh and I have a bit of a running joke about how I don’t take callboard aesthetics seriously enough. I do care a lot about how my callboard looks, I just don’t always have the time or energy to see that time is spent on making it look pretty.

A month and a half ago when we arrived in Minneapolis, I went on a shopping spree to Office Depot to get a few supplies. While there I found some really awesome pushpins. I bought some awesome pushpins last year, but these were awesome enough that I wasn’t concerned about pushpin redundancy.

On opening night, I switched to my favorite of the two varieties I purchased, these orange ones with cube-shaped tops, and banished all non-awesome pushpins to the side of the callboard that will belong to Macbeth when they start tech.

I took a picture of our pretty callboard and sent it to Josh. He then sent me back a picture of the callboard from the Wicked tour, which I hope to best when Nick and I actually make our own signage for the tour.

Aside from making an otherwise bland callboard look good, I find unique pushpins useful because we play a lot of venues where we use an existing bulletin board, which may or may not have some of its own pushpins, but usually never enough. By having our own very distinct pushpins, we know exactly how many we put up, and can ensure that we take them with us when we load out.


January 16, 2010

In the Run

I call this: On the Road Again,theatre — Posted by KP @ 3:00 am

We’ve now done 3 official performances at the Guthrie. The day after opening, the rest of our out-of-town collaborators took off, and now it’s just the traveling company here in Minneapolis, along with visits from some of our local creative team — such as Andrew Wade, our vocal coach / guru, who has continued to surprise us by showing up in person to conduct his famous pre-show warm-up, when he has had free time from Macbeth rehearsals downstairs.

But for the most part, this has become like another stop on the tour. Everyone has gone home, and Corey and I are now maintaining the show. We don’t yet have our touring crew here (mostly because there’s nothing for them to do because we’re in a union house). They will show up a few days before we leave to learn their tracks and then load the show out.

To catch you up on what’s been happening since we started previews…

We’ve had great houses, and our notes from each preview were minimal, and the rehearsals during the day very easy-going. We were still tweaking things here and there, but there was no great rush or panic about it.

On the night of the final preview, Nick and I took Ashley to dinner as our official thank you for her help throughout our process. However, she hasn’t been needed that much for Macbeth, so she’s still assigned to us for the time being. In addition to helping us as we go back into rehearsal for Alice in Wonderland and the one-hour version of R&J that we will perform for younger audiences, she’s going to observe as much as possible of calling the show and Nick’s deck track (neither of which are particularly challenging or unusual, unfortunately).

Opening night was fun. We had just a few hours of rehearsal, but the rest of our time was taken up with preparations for the opening night events, and organizing and distributing the opening night gifts for the cast and creative team. It was kind of fun getting to play Santa Claus, sneaking into all the dressing rooms while everyone was out to dinner and leaving the bright red Acting Company tote bags, with two luggage tags and an Acting Company frisbee inside.

On Fireworks

On the day off, Laura (who plays Juliet) went to speak to one of the schools that came to our invited dress. She revealed that their favorite part of the show was the fireworks in the party scene. I found this absolutely hysterical since I think of the fireworks as some sort of stage management torture device, rather than something I should be patting myself on the back for. Basically instead of the lights and sound being programmed with a delay so they execute together, the sound cue of the rocket whistling up and then exploding is called first, and then I call the light cue to create the flash with the explosion sound. I managed to get them to put a delay on the first one because it executes with another sound cue, making the rocket almost impossible to hear. The first time I called the show from the booth was during the invited dress, where I realized I needed a dedicated monitor with just sound effects in it to call it well. It was nice to find out that the kids thought the fireworks looked good, even when I couldn’t hear what I was doing.

I had to go through this exact same thing last year with The Spy, in which several military flares were sent up in identical fashion, except it was even better because we only did the show like once a month, so I had even less time to get good at it! This show has about 8 fireworks effects more-or-less back-to-back, and based on my experience from last year, I’m getting decent at it pretty quickly. It’s pretty much the only thing I do in the show that’s difficult or in any way flashy from a stage management perspective, so hearing that it was memorable makes me feel good.

I know that all of my contributions help tell the story and elicit emotion in the audience, but it can be an adjustment to go from cueing falling chandeliers and towering pillars of flame, to calling nothing but graceful scene change light and underscoring, that are most effective when the audience isn’t really aware of them happening. So I do look forward to the fireworks as the one point in the show where everyone gets to admire the cool technical effect.

As the show settles in, I can now take time to start working on the finer nuances of my cues and really fitting them into the way the show breathes. There is an art to that as well, although it requires a little more patience to reap the rewards of it than the immediate positive feedback of getting a chandelier to explode perfectly on cue. I’m looking forward to really starting to work in depth on making each cue perfect.

Student Matinee

Yesterday we had our first student matinee, which went really well. We also had our first talkback after the show. I absolutely love doing talkbacks, so I always look forward to this. Corey did a great job moderating. He had also done a pre-show session with the students, so he had given them things to think about and discuss after seeing the show. I’m always very impressed how well the kids are prepared when they see the show, which is a testament to their teachers and the people in the education departments of the Acting Company and the Guthrie. On another note, it’s also fun to do talkbacks with a new company of actors because you usually learn new things about your coworkers by listening to their answers.


January 12, 2010

Daily Routine (show mode)

I call this: On the Road Again,theatre — Posted by KP @ 8:28 pm

A rundown of my routine during performances at the Guthrie.

1 1/2 Hours Before Curtain

Hang around theatre, make sure everything is prepared for the return of the actors. The stage should be clear for warm-up and props ready for fight call. This is the trouble-shooting time.

1 Hour Before Curtain

Voluntary warm-up begins onstage. Invite the cast to the stage for warm-up.

45 Minutes Before Curtain

Call the cast to the stage for fight call. The fight captain runs fight call, and we mostly stand off to the side making sure everything goes smoothly.

35 Minutes Before Curtain

With the conclusion of fight call, I holler up to the booth where our light board op puts us into blackout check. This turns off all stage and house lights, and if anything is amiss (lights on that shouldn’t be, or spill from improperly masked running lights), it will show itself. This usually takes about 5 seconds to establish that it is indeed dark, and for me to call for the lighting preset.

After we’re in preset, I check the stage for debris or people’s personal belongings they may have left on or near the stage during warm-up, such as coats and water bottles. I check that any onstage props and furniture are on their spikes and properly set, then invite Nick to inspect for himself (it’s really his stage, so unless he’s busy I want him to have a chance to approve it). Once Nick and I agree that we’re ready to open, I tell the house manager that the house can open, and our sound engineer plays a “welcome” announcement over the PA, telling the patrons in the lobby that seating will begin.

30 Minutes Before Curtain

The famous “half hour.” First, I call half hour over the backstage PA. Then I gather up my belongings and head to the booth, where I will park myself for probably the next three hours. I set up my computer, and at least at this point where we’re transitioning from daytime rehearsals in the house, I carry my headset and script up with me.

Then I hang out and/or blog until I have to interrupt myself temporarily to call “15”.

7 Minutes to Curtain

I switch my radio from the “SM” channel for our theatre to “FOH” (front of house), and ask the house manager if we expect a delayed curtain due to late seating, traffic, weather, etc. This helps me plan the five minute and places calls so the cast isn’t standing around if we know we’ll be starting late.

5 Minutes to Curtain

I call “5”. This can be adjusted early or late depending on the expected actual start time.

At Curtain Time

I call “places.” Like the 5-minute call, this can vary, although unless something unexpected happens, I try to make it literally 5 minutes after the “5”. At this point I check in with the crew on headset and make sure everyone is ready to begin. As the cast arrives on the deck, Nick begins a head-count so we know when we have places.

When We Have Places

When we actually have places, Nick tells me, and I radio the house manager that I’m ready. She will either tell me that we need to hold for people being seated, or will order the staff to close the doors. The door people radio back that their doors are closed, and then the house manager confirms that we’re OK to begin, and wishes us a good show. And then away we go!


January 11, 2010

Post-Tech Day Off!

I call this: On the Road Again,theatre — Posted by KP @ 9:29 pm

We have finished tech, we did a very successful first dress rehearsal, then turned around about three hours later and did our final dress rehearsal for 300 high school theatre students.

On Saturday we had our first preview, last night we had our second preview. Before each show we spent five hours making changes to lighting, sound, staging, choreography, and fight choreography. All the shows have gone very smoothly, and the rehearsals during the day have been low-stress affairs. I’m very pleased with how it’s going.

I planned my week so that I would have today totally off as my reward for surviving tech and first previews. I bought 2 weeks of groceries last week, and got up early on Saturday to do some needed shopping downtown.

Today I got out of bed around 1:00 and then spent nearly 2 hours dealing with the 15 emails I woke up to. Having Mondays off is kind of annoying because everyone else has just gotten back to work and has lots of questions and things to get moving on.

Other than that I’ve been taking it easy until dinnertime. Tonight I updated our electronic script with a few small cuts and changes we made in the past week. I also found some small typos and formatting errors when I began using my calling script at the beginning of tech, because before that I’ve just been dealing with the original script we began rehearsals with and making the changes in pencil, except for a few particular pages which required me to print out the updated page.

With that done, I’m now starting the electronic calling script. I have no intention of using it until after opening night, as switching scripts from the one you learned to call the show on is kind of a scary thing. Ashley is staying with us longer than we thought, and among other things Nick and I have planned, she’s going to learn to call the show even though she wouldn’t actually be able to put it into practice. At the invited dress she sat next to me in the booth and updated our per-scene running times during the show. Once the new script is done, she can be another eye reading it along with the show to look out for any problems.


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