Josie22 Posted November 10, 2013 Share Posted November 10, 2013 Hi, I've been working in theatre for just over a year, mostly as a lighting technician, stage crew, ASM and all the odd jobs I can get... but I've recently been hired as the DSM for a big show and I'm doing a lot of research into what to do in preparation for it, and was wondering if anyone can help with some possible problems I may come up with, as I want to do the best I can. As for the prompt script, is it best to get 2 clean copies, and make one rough guide, complete with scribbles and personal notes so I can make the fastest notes possible during rehearsal and then make a cleaner copy afterwards, or is it best to take the time to do the cleanest possible copy first with people possibly having to wait for me? What exactly is expected of me? I've been told I'm the directors right hand man, I'm supposed to know where people should be and when at all times, how can I find this out without constantly bugging the director? Is there any way to pre-plan this before attending first rehearsal or is it a case of just hoping for the best when I get there? Do I need to be authoritative? Am I to just be there for people and help at all times or am I expected to tell people what to do, ie: Can I be everyone's friend or am I expected to be a bit bossy and need to gain respect from day 1 (not in a nasty way, but avoid being a pushover from the start, as I normally do)... Basically, what tips do you guys have from experience, starting off as a brand new DSM, what's the best tips of the trade you can offer?I plan to bring biscuits and good coffee/tea to rehearsals, no worries there! Many many thanks for any advice you can offer! Link to comment Share on other sites More sharing options...
paulears Posted November 10, 2013 Share Posted November 10, 2013 I suspect you've been misinformed. If it's a big show, then you are in total control. You are the boss. Everyone will come to you. If it's a commercial theatre, you will also need to control their teams too. There are lots of proper ways to do things, but the essential ones are that your script is the master - everyone will ask you things, and they'll all be answered from the book. It's difficult to kind of compress it, but my writing is awful, so my script would be a mess of scribbles, lines, crossings out etc. Most DSMs are rather critical of their book, so will often re-write it when the show settles. The net is full of how to do it, but ring binders and individual sheets work best. Some people will work with the words on the right, with their cues on the left, while others prefer it the other way around. It really doesn't matter. You need to record the cues that you will call by underlining, highlighting, extended lines - again, although there are conventions, if you don't know them, it doesn't matter too much as long as it's clear. Most split the blank page into two or three columns where cues and notes go. In rehearsal you're also expected to know where set items and props may be placed. Words, or little set diagrams should work. The reality is you are responsible for absolutely everything. During rehearsal you watch everything, make notes and prompt the director, who will look at you and ask "where does he enter?" - you respond immediately with USR, or whatever. You need to know every answer, and when you don't know, you respond immediately and give them an answer - making sure you then note it down. It's your job to give calls to the cast and crew - so it's just a case of keeping aware, so you can just say to the director "10am call for everyone tomorrow? but we don't have Fred until 12 as he's doing a promo". Script wise, you also need to keep it up to date, cutting sections and then re-writing the new stuff. Most DSMs nowadays are computer literate, so when a script has been savaged, it's your job to get new clean pages to the people who need them. The Director won't make changes himself, relying on you to record everything that gets changed. Hopefully the show will not be too stressful for your first one, and if you've been asm'ing for a while then you will have seen all this. If you have specific questions - just ask. The DSM does not have to shout or yell, but MUST be confident and reliable. People only respect DSMs who are effective. The worst DSMs are unpredictable, unreliable, indecisive, and awkward. Nobody minds a green DSM who asks for help and guidance on procedure specific to a venue. The absolute worst ones are those that have no idea how to word a cue. If you want to hear a complete show being called, drop me a PM and I will send you a link to a show, where the DSM gave permission for me to record it, and let people hear it. Link to comment Share on other sites More sharing options...
GridGirl Posted November 11, 2013 Share Posted November 11, 2013 On a big show I definitely prefer two books - one for blocking, which is the "bible" during rehearsal, and then a clean copy for calling the show from (if it's a three-hand play with minimal blocking, I don't bother with a second book!). Hopefully there will be a rehearsal schedule for at least a couple of days ahead, so you know what to expect - although some directors are terrible about sticking to them anyway. You definitely need to be authoritative - you may have to be a bit bossy at times but respect is more important. Don't try and be friends with everyone - and if you have mates amongst the cast, make sure you treat them the same as everyone else. Also try to remain calm, no matter what - I regularly work with a DSM who always sounds completely in control on coms and over the Tannoy, no matter what is going on around him, and this means any issues tend to get resolved very fast and no-one panics! Get hold of Thomas Kelly's book "A Backstage Guide to Stage Management" and have a read - there's stacks of really great info in there which should help you. Some of it is quite US-centric, but it's still well worth a read. Link to comment Share on other sites More sharing options...
paulears Posted November 11, 2013 Share Posted November 11, 2013 I forgot - consistency! Nothing annoys people more than if you change your style during a show. If you oddly call a standby early every show, for whatever reason - if you change this, tell people and explain the next standby will be later because of XXXXX. If a long standby gets replaced with a standby followed almost straight away by the go, they'll miss it! If it's a chatty show comms wise - ALWAYS enforce the silence during standbys - start as you mean to go on. Link to comment Share on other sites More sharing options...
kerry davies Posted November 11, 2013 Share Posted November 11, 2013 Gridgirl is right about being authoritative and it is best to be "firm but fair" from day one. You are dealing with the whole range of humans but in special circumstances where they can easily get self-obsessed and thoughtless toward others. Just concentrate on what you need to do and keep calm whatever happens. A director once asked me why I wasn't panicking when disaster struck. "I am inside" I replied "but I daren't outside otherwise everyone would panic." Link to comment Share on other sites More sharing options...
Just Some Bloke Posted November 11, 2013 Share Posted November 11, 2013 As for the prompt script, is it best to get 2 clean copies, and make one rough guide, complete with scribbles and personal notes so I can make the fastest notes possible during rehearsal and then make a cleaner copy afterwards, or is it best to take the time to do the cleanest possible copy first with people possibly having to wait for me? It is entirely up to you but your first suggestion sounds sensible. Don't start on v2 too soon, though, as things will change right up to the last minute! What exactly is expected of me? I've been told I'm the directors right hand man, I'm supposed to know where people should be and when at all times, how can I find this out without constantly bugging the director? Easy. Just listen to what the director says and write it down. If he says to Romeo "you enter up stage left after the line "where the hell is Romeo?" then in the srcipt, after said line, you would write "Romeo enters USL". It's only blocking you have to write down so if he has been told to say his lines in an annoyed way then that doesn't need to go in the book, for instance. Is there any way to pre-plan this before attending first rehearsal or is it a case of just hoping for the best when I get there? No, there is no way of pre-planning the blocking because there is no way of knowing what the director wants prior to rehearsals (even for the director, very often!). You can, however, put little markers into the script so you can find the scenes quickly. Thus when someone asks you "I have a question about my entrance in scene 13" you can quickly find the right spot in your book. Do I need to be authoritative? Am I to just be there for people and help at all times or am I expected to tell people what to do, ie: Can I be everyone's friend or am I expected to be a bit bossy and need to gain respect from day 1 (not in a nasty way, but avoid being a pushover from the start, as I normally do)... Yes! Basically, what tips do you guys have from experience, starting off as a brand new DSM, what's the best tips of the trade you can offer? People you need a good relationship with: 1) Director2) Production Manager3) Stage Manager4) Everyone else ... in that order! Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.