being a stage manager

[WJProctor]

Hi, Yeah ive found that my crew wont always work with cues. I do give them but they are stuck in their ways and much prefer to follow the script through themselves and cue themselves. Leaves my worrying sometimes becuase you feel your loosing control of your crew. Finally managed to wheen them off the script, but its an uphill strugle. Similarly with cast I like to know where they are and call them to stage, but they often like to hang around and listen for them selves... Grrr annoying at times.

[paulears]

I see you describe yourself as an "amateur theatre practitioner" at a uni.

 

If you use the term amateur to mean someone who doesn't do something as their profession or paid work, things are different to you using it meaning 'lower quality, not up to pro standard, carried out more by luck and enthusiasm, rather than skill".

 

I guess your way of working is sort of ok, if you do it for fun - but if you ever want to improve either the production standard, safety, or your transferability to a more professional venue, then you need to sort this crew out.

 

If they are your crew, they must work your way. If you are in charge, then they do what they are told. There is always scope for cues to be taken by people in a better position to implement them accurately - but when the brown stuff hits the fan, who gets the blame - you? The whole point of the heirachy of stage management is that it works. Sure, in many shows the crew can follow a script and do everything themselves - it just isn't that efficient when things go wrong. In your venue, how many times have the lights come up before the scene change was completed, or the talent in place. How many times did a sound effect happen in the right place, but wrong because the talent didn't have the correct prop in their hand, lights stay out too long or cues get out of sequence because things on stage have gone awry? A properly trained, on the ball crew are a real benefit to the show. The crew who act as a number of individuals never get to the standard of a 'proper' crew, who are coordinated by a competent stage manager.

[sam.henderson]

Hi All,

 

Just looking for a few more opinions on how you prefer Standbys to be called.

 

Do you prefer..

DSM: "Standby LXQ26 through 30"

OP: "LX"

DSM: "Thank You, Standby SNDQ8"

OP: "SOUND"

DSM:"Thank You, Standby AVQ10"

OP: "AV"

DSM:"Thank You" etc.

 

or

DSM: "Stand by LXQs 26 through 30, SNDQ8 & AVQ10"

OP: "LX"

OP: "AV"

OP: "SOUND"

DSM: "Thank You".

 

Cheers,

 

Sam

[PhilT]

I've always used the following for multiple operator standbys:

 

DSM: Standby LXQ1....

 

LX: Standing by

 

DSM: ... and FlyQ1...

 

Flys: Standing by.

 

DSM: ....and AVQ1.

 

AV: Standing by.

 

This has always worked for me, but I can see it has it's potential pitfalls! I never tend to say 'thank you' or anything after standbys either, I'm a bit of a Hitler DSM and I like to keep cans traffic to the bare essentials during the show (though it depends on the show). Obviously at the end of the show that's an entirely different matter, it'd be rude not to say thanks!

 

I've never experienced anyone responding, or responded myself, with anything other than 'Standing By'. Does the response 'LX' or 'AV' etc have quite widespread usage, or is it purely conference showcalling or something?

[sam.henderson]

Responding with the dept. is especially useful when you call all of the standbys in the block together (example number 2) becuase for a new DSM it can be hard to distinguish the voices over cans sometimes.

 

As for the Thank-Yous I have always thought this good DSM Etiquete to show that you have acknowledged that they are standing-by.

 

Sam

[PhilT]

Responding with the dept. is especially useful when you call all of the standbys in the block together (example number 2) becuase for a new DSM it can be hard to distinguish the voices over cans sometimes.

 

So NOT using example 2 cuts down on cans traffic, which can't be bad!

 

I guess there's no 'right' way of doing this! If it works, and everyone is happy, it works! There are, however, WRONG ways of doing things....

 

As for the Thank-Yous I have always thought this good DSM Etiquete to show that you have acknowledged that they are standing-by.

 

I reckon if you've asked them to stand by, and they've responded, everyone should know everyone's ready. But I also think there aren't enough good manners in the world, so the odd thank you here and there can't be a bad thing! :)

 

Phil

[gareth]

In 13 years of board-op'ing shows in professional theatres the length and breadth of the country, I've always found that a clear, simple "standing by" does the trick, without exception. No need for department names, etc.

 

As for how I personally prefer to receive stand-bys - well, I really don't mind, as long as it's easy to determine which are my stand-bys, and which cues they're putting me on stand-by for! Whether or not the DSM says "thank-you" is irrelevant to me - I mean, it's not as though we're having a polite social conversation, is it? We're working.

 

Incidentally, while we're talking about acknowledging DSM instructions, one of the most annoying people I've ever had the misfortune to share an intercom with was an LX operator who, as well as acknowledging each and every stand-by by repeating almost the entire instruction ("LX Q1 and houselights standing by"!), but also insisted, despite it being suggested to him that he might like to stop doing it, on acknowledging each "Go" cue with the word "Gone"! You can only imagine how annoying this got for everyone! :** laughs out loud **:

[mac.calder]

A lot depends on the show I suppose, and the level of faith I have in the operators.

 

Two extreams:

 

I had one op who must have been dragged in from the street (AmDram, so he probably was). He was operating a simple scene master desk (atom24), and he took no notes what so ever during plotting, stating he would remember how each transition was meant to go. He was also fresh over from China, and whilst his english was not TOO bad, he really only grasped the basics of the language. Our conversations over cans were rather verbose (From the top of my head they went like this):

 

Me: LX 1 through 4 Stand by.

LX: How?.

Me: LX 1 - slow fade down, LX 2 - Snap, LX 3 - fade over 10, LX 4 - fader down then up.

LX: Thankyou, Standing by,

Me: LX 1 Go. Slowly LX.

LX: Finished

Me: LX 2 Go, QUICK SNAP IT!

LX: Done

Me: LX 3 Go, 1, 2, 3, keep with me LX, 5, 6, 7, 8, 9, 10

LX: Okay

Me: LX 4 Go, No, down... good, now up.

 

Show finishes and I am tempted to beat him over the head with a brick.

 

Other shows, I have competant ops,

 

Me: LX 1 through 4, Stand By

LX: Standing by

Me: LX1 Go.... LX2 Go... LX3 Go.... LX4 Go

 

 

Multi-departmental standbys, I can usually tell who is talking, if not, I just call the standby again for that one department. If I am not sure about a certain department being on page with me, I just "Confirm LX", and they echo back "LX 15" or whatever.

 

Of course there are also the boring shows that have 5 short runs of cues arround scene changes and nothing else, where everyone sits back and chats over cans (or makes whitty comments)...

[LeeStoddart]

Similar to PhilT...

 

For multiple department stand bys I use

 

 

DSM: Standby LXQ1....

 

LX: Standing by

 

DSM: Standby FlyQ1...

 

Flys: Standing by.

 

DSM: Standby AVQ1.

 

AV: Standing by.

 

 

(Although I'd generally give the Flys their standby earlier because they have to get up and walk to the appropriate line(s) rather than just move the finger closer to the button)

 

And the standard response I expect is "Standing by".

 

There are obviously thank yous to say at the end of the show - otherwise it only comes up if I've had to ask for a confirmation that a department has actually heard.

 

 

...one of the most annoying people ... was an LX operator who...insisted...on acknowledging each "Go" cue with the word "Gone"!

In the past I've appreciated an LX operator responding with "going" on a particularly long and subtle cue - something which is going to run for more than 90 seconds say. But I certainly would not appreciate that level of feedback on every cue.

[paulears]

I quite like the sound op replying with something like "running" - saves a panic when a track starts quietly and the cue could have been missed.

[sam.henderson]

I too would say that running or the one which I normally use 'executed' is a lot better than going becuase it could be missheard by another op etc.

 

Sam

[david.elsbury]

FWIW, I just use "Standing" and drop the "by".

Makes it quicker, IMO. Especially if the SM is calling a lot of multi-department cues.

 

David

[cdcarter]

A quick look into an american theatre calling system.

Most cues are called like so:

 

Warning on lights cue 101 (one page ahead, warning is not always called, but for shows with gaps, it is) (After a warning or Stand By is called no one else can talk on headset except for the SM because we have half-duplex headsets)

Stand-by Cue 101...(keeping talk button down here)...GO!

If it is a long fade, Going is replied.

 

Multiple cues coming up:

 

Warning lights Q's 101-104

Stand-By lights Q's 101-104

Lights Go...Go...Go...Go

 

Cues going at the same time:

 

Warning Followspot Cue and Lights cue 103, take it together

Standby Spot and Lights Q 103

3-2-1 GO

 

Cue Standards:

99 is preset

100 is blackout

101 is first scene

etc...

[mac.calder]

A quick look into an american theatre calling system.

Most cues are called like so:

 

First off, I think it is a bit brash to say it is the american theatre calling system. I know about 15 american SM's - some are broadway, some are amdram, some are small regional theatres, some are union, some arn't, and they all call differently, and none have actually called like you have listed below, but rather it is your calling system, and it is (could) be the common one in the area

 

Edit: re-read, you said 'an', so I appologise.

 

Warning on lights cue 101 (one page ahead, warning is not always called, but for shows with gaps, it is) (After a warning or Stand By is called no one else can talk on headset except for the SM because we have half-duplex headsets)

Stand-by Cue 101...(keeping talk button down here)...GO!

If it is a long fade, Going is replied.

 

Many people seem to find warnings redundant - if you need a pages notice to get your legs off the desk, put down your mag and take your iPod out of your ear, you should not be doing the job. Standbys are enough time to get ready to do anything.

 

Multiple cues coming up:

 

Warning lights Q's 101-104

Stand-By lights Q's 101-104

Lights Go...Go...Go...Go

 

Appart from Lights, instead of LX - I dont mind this part.

 

Cues going at the same time:

 

Warning Followspot Cue and Lights cue 103, take it together

Standby Spot and Lights Q 103

3-2-1 GO

 

very aprehenive about this. (I would normaly say, dome 103, lx 103, on count from three, 3,2,1,Go)

 

Cue Standards:

99 is preset

100 is blackout

101 is first scene

etc...

Hmmmm... dont like that, sorry. I use zero cue for preset - and 1 for blackout.

 

Your system also does not cover this situation:

 

SM: Standbye LX1-3, Sound 1, Flys 1, Rail 1-3,5,8

SM: LX 1 go, rail 1 go, 2 go, sound 1 go, rail 3 go, lx 2 go, 3 go, rail 5 go, 8 go.

 

Your lack of departments in the calls is worrying. I would also look at getting full-duplex. It is almost essential - If you are standing someone by and have your finger on the button, then people cannot tell you if something happens.

[cdcarter]

Many people seem to find warnings redundant - if you need a pages notice to get your legs off the desk, put down your mag and take your iPod out of your ear, you should not be doing the job. Standbys are enough time to get ready to do anything.

The warning is usually only called in a studio show, where we have approximately 14 cues. Most of them are taken on visual.

 

Your system also does not cover this situation:

 

SM: Standbye LX1-3, Sound 1, Flys 1, Rail 1-3,5,8

SM: LX 1 go, rail 1 go, 2 go, sound 1 go, rail 3 go, lx 2 go, 3 go, rail 5 go, 8 go.

 

Your lack of departments in the calls is worrying. I would also look at getting full-duplex. It is almost essential - If you are standing someone by and have your finger on the button, then people cannot tell you if something happens.

I am sure that situation would be more common if our space had a flyrail system. When a situation like that were to come up, most likely it would be called in the manner you described. As for the lack of department in the calls, they do get called, when it isn't lights. Generally, 80% of the cues are lights, and the sound cues are not numbered, but instead something like "bring up BLANK's mic" or "City Sounds, fade in...GO"

 

We are working on getting a full duplex system. I have a new cans ready to be installed, but we need phones with headsets. The system is basically a large party line. Working on getting it connected to the house PA for Tech Rehersals too.

 

We are not the best venue when it comes to cues, and a lot of times the board op's have to stay on book, incase the SM is busy trying to convince the stage crew to start a scene change.