Insuring the Book

[Acko]

Hi all,

 

I have heard on the grapevine that the prompt book that the stage manager has, containing all of the infomation for the show or production gets insured and if lost or stolen then the performance will not go on. Is this true? If it is true then were are you able to get insured.

 

Thanks Alot

Acko

[iamchristuffin]

I don't think the show 'would not go on', as all the information could probably be recollected by visiting all the other production crew. However, I do know of a couple of DSMs that create a copy of the script as a back-up, in case something does happen. As for insurance, I've never heard of such a thing.

 

(However, I've only been in this industry for a few years, so I'd wait until someone more senior replies before taking my word as true.)

 

HTH,

 

Chris

[Suzette]

I've never heard of the book being insured but it used to be the norm (I assume still is) that the book always travelled with the lorry (with the set, costumes, lights sound etc.). If the lorry didn't arrive at a venue then there was a high chance are that the performance wouldn't go on because nothing was at the venue! If the DSM was delayed when travelling to the venue at least the book was there and someone else could call the show.

 

I guess when the book is in the wagon it would be covered under the usual transit insurance anyway.

 

Although any good DSM would also do a back up copy and carry it with them ... just in case!

[andy_s]

all professional theatre productions (and I guess all non-professional ones where there is a liklihood of financial risk - i.e. having to give refunds) - should have some kind of insurance against cancellation for any reason; indeed what happens in the case of cancellation will form part of the contract between the producers and promoters. cancellation could be for many reasons, including, I guess, loss of the promptcopy, although I've worked with many good DSMs who are effectively "offbook" almost as quickly as the actors, and could rewrite big chunks of it from memory. (maybe not for a big musical.....)

 

"Insurance" when used in relation to the prompt copy in this way I'd usually interpret as the security of knowing that there is a backup copy available, rather than a financial arrangement relating to its value....

[w/robe]

I guess when the book is in the wagon it would be covered under the usual transit insurance anyway.

But only insured for the replacement costs of its constituent parts, ie 1 ring binder, A4 paper etc.

 

Acko, who ever told you that books are insured is just lying to you. If loosing the book is a concern then in an hour with a photocopier you could produce 2 backup copies for a lot less cash than any insurance premium.

[Ike]

To be honest I seriously doubt you would find anyone willing to insure it for any premium. It would be all to easy for someone to 'lose' the book and claim on the insurance and would be impossible for the insurance investigator to prove one way or another.

[Ynot]

Two words....

 

Urban Myth.

[Jivemaster]

Insurance may mean Brokers, policies, and Lloyds, OR may mean "Having a Spare" in the same way that digital files may be backed up or saved to another disc.

[propsman]

although I've worked with many good DSMs who are effectively "offbook" almost as quickly as the actors, and could rewrite big chunks of it from memory. (maybe not for a big musical.....)

Interested to know what you mean by a dsm being"offbook" ! never in my life have I known a dsm to call a show "offbook" and I as a stage manager certainly would not let any DSM call a show that way.

[Ynot]

although I've worked with many good DSMs who are effectively "offbook" almost as quickly as the actors, and could rewrite big chunks of it from memory. (maybe not for a big musical.....)

Interested to know what you mean by a dsm being"offbook" ! never in my life have I known a dsm to call a show "offbook" and I as a stage manager certainly would not let any DSM call a show that way.

I suspect he means they know the show well enough to anticipate calls without constant reference to the pages. (He did say 'effectively')

I'd say that this bodes well for a quality show call, as the DSM can be watching more of what's going on (and thus able to react better to hiccups etc) than staring at the paper and maybe missing something happening live.

[paulears]

Depends on the type of show - obviously shows with complex, multi-numbered cues need the book as it can't be done without, but less formal called shows, often one-nighters (which we do a lot) are often called by the visiting live, because of the many small differences between vennues, venue crews and facilities. Some use skeleton books with essentially the show sequence, others are written out in full - they use what works best for them. Oe memorable one that was always difficult to crew because of the huge amounts of called cues and attached wrath when they went wrong with no rehearsal of any kind, replaced their tour manager with somebody with a much more relaxed, call it as it happens attitude - and the show quality didn't change one jot, but he went with our abilities, and didn't attempt to over complicate things.

[andy_s]

although I've worked with many good DSMs who are effectively "offbook" almost as quickly as the actors, and could rewrite big chunks of it from memory. (maybe not for a big musical.....)

Interested to know what you mean by a dsm being"offbook" ! never in my life have I known a dsm to call a show "offbook" and I as a stage manager certainly would not let any DSM call a show that way.

I suspect he means they know the show well enough to anticipate calls without constant reference to the pages. (He did say 'effectively')

I'd say that this bodes well for a quality show call, as the DSM can be watching more of what's going on (and thus able to react better to hiccups etc) than staring at the paper and maybe missing something happening live.

 

Nail on the head....

 

without wishing to blow my own trumpet too much, I've watched videos of dance shows years later that I used to call, and found myself calling it in my head, so engrained were the cue sequences... I wouldn't guarantee I would have had it 100% right, and I would never have dreamed of doing it live without my book or calling sheets (if there was no script) in front of me, even though most of the cues would be musical (but often with no paper score available) or visual. Dance is perhaps a special case...

 

probably what I mean in a live situation is "being on the right page in the book but not needing to read every word". I certainly wouldn't expect a DSM to be able to do it, and wouldn't castigate one who constantly referred to the book if that's how they felt most comfortable, but it's a useful talent if you have it.

 

on a slightly different tack, in the old days of manual preset desks, I would regularly learn a sequence of presets if the cues were too quick to read of the sheets, but these were shows I'd be opping for 80 or 90 performances on quite long tours, and often opping lights and sound at the same time, so it would come together with time....the first few shows would always have a few hairy sequences in, which would get easier as I "learnt" it. It's probably more like a musician learning to play a new song than learning lines like an actor.....

 

I did add in a proviso about big musicals probably not being suitable for this kind of treatment!

 

picking up on Paul's point about relaxed touring staff - in my time as resident technical manager, I've also experienced this - a good touring SM will very quickly pick up on the quirks of the local crew, and establish the right rapport. One particular visiting DSM I remember having 2 hour conversations with, interspersed with LX cues - all on the button...again he had the show down so well that he could morph from a story about riding his bike through Finchley at 80MPH at 4 in the morning slightly the worse for wear (I exaggerate slightly for effect....) to LXQ42a without missing a beat. Operators had to be on their toes, mind....but if everyone was focussed, actually it could make for tighter shows. Again, I don't mean to suggest everyone must try this at home - some crews will need more formality, some DSMs will need more obvious discipline. Horses for courses, I guess.

 

with apologies for the slightly long-winded reply...

[propsman]

although I've worked with many good DSMs who are effectively "offbook" almost as quickly as the actors, and could rewrite big chunks of it from memory. (maybe not for a big musical.....)

Interested to know what you mean by a dsm being"offbook" ! never in my life have I known a dsm to call a show "offbook" and I as a stage manager certainly would not let any DSM call a show that way.

I suspect he means they know the show well enough to anticipate calls without constant reference to the pages. (He did say 'effectively')

I'd say that this bodes well for a quality show call, as the DSM can be watching more of what's going on (and thus able to react better to hiccups etc) than staring at the paper and maybe missing something happening live.

 

well that cleared that up.... As I said I was interested to know in what context the term "offbook" was being used when being applied to a dsm.

[lucy_ironside]

Although any good DSM would also do a back up copy and carry it with them ... just in case!

 

I have never carried another copy of the book on my person when on tour EXCEPT on an international tour, where a copy goes in my hand baggage. As for UK touring, there is normally a copy in another flight case or at head office.