GUEST POST BY DANIEL: On How to Get Extra Work
Daniel is currently working at one of the most prominent extras casting agencies in the country, and has also cast his own (award-winning!) projects with his casting agency, Hats Off Casting. He also just so happens to be my darling husband 🙂
Today he’s sharing with all of us his best tips for getting the most background work!
10 Ways to Increase Your Chance Of Getting Extra Work
We work in a business that is not easy, and most actors don’t realize that most of the time the reason you don’t get the job is completely out of your control. I am currently in the world of Extras casting, and though some things are beyond your means there are ways to improve your chances of getting work. I present the top 10
1. Register with extras casting agency. The best way to get extra work is by making yourself visible, and what better way to do that than to join the casting agencies club known as their Database. By registering with a casting agency you get your own little profile with a picture, and info about yourself. It is a reference tool that the casting directors use when you submit to projects. Your profile gives us an idea of your attributes, your abilities and most importantly an idea of your work history. 99% of the time a casting director will cast the actor that chose to allow us to know them by registering over the actor who just sends a picture submission. Think of it as a dating website. You would never choose to go on a date with the person with a photoshopped picture, no information and a note that says I never get picked.
2. Know your type and dress for the part. When you register for a casting agency you get a picture that will help determine how you are cast. You can help determine what you are cast as by knowing the types that are suitable for you and dressing for those roles. If you are an 18 to look younger type then I advise wearing something that makes you look more like a teenager. If you are an UES type wear upscale attire for your picture. Wardrobe choice can give you more control than you realize in helping the casting director choose what roles to cast you in. I do have to say though that you have to be realistic in determining your type. If you are 5’4, weigh 110 pounds, and wear glasses you will never be cast an FBI agent… I should know .
3. Submit to projects that you are appropriate for. This is an extension of wardrobe choices and knowing your type. If you are reading a post calling for an Upscale Wall Street type and you are completely covered in tattoos, and the only nice outfit you have is the red tuxedo you got married in, chances are you should not submit yourself for that role. The key in submitting for projects is to know who you are and to play to your strengths. I know actors don’t like to be type casted , but as long as you are getting the work it shouldn’t matter. The actors who work the most are the ones who embrace who they truly are in every role they play.
4. Keep your ears open at all times and follow the instructions that are given to you. Consider a shoot to be like a meal made up of several ingredients and each shoot is a different recipe. No two projects are ever exactly the same and you will always be unaware of the whole recipe. The ability to become familiar with the ingredients are to listen to details. When you are told something it is important, and you following what you are told ensures that the meal is made flawlessly. Listening to instructions is a concept that is taught to us as children and when you show you can repeatedly follow directions you will always be a strong choice as an ingredient in the main course.
5. Be on time and on time is being early. Punctuality is such a vital aspect of an extras job. Projects are always, and I means ALWAYS under a time crunch when it comes to their shooting schedule. When you are late for a shoot, it affects not just the schedule of the scene you were in, but the entire day. Punctuality does not go unnoticed and can even be rewarded through other work, potential wavers .. or that desired bump that everyone always hopes for. Your first impression starts the moment you walk in the door, make that first step on time.. better yet make that first step early so the casting director doesn’t have to play the nagging parent calling you 12 times in 5 minutes trying to find out where you are.
6. Do not call into an agency asking if work is available, or making a stink that you have not been cast. I know background work is not the most appealing, but it is still a competitive market, and for every breakdown that goes up there are hundreds of people who submit. There are not enough roles for everyone that submits and not everyone fits every role. Casting directors are given specific instructions for the roles they have to cast and it is a casting directors job to follow those instructions down to the last detail. If you are a female that is 5’0 and you are calling in asking why you have not been cast in a show that is currently looking for male body guards the casting director is going to take that as you are not paying attention to the breakdowns being posted. What was once a seemingly harmless call that you thought was pro-active is now a hinderance to your credibility and ability to follow direction. Casting directors know what they are looking for and if you fit the bill they will call you.
7. Make yourself as available as possible. Casting directors understand that you won’t always be available for every job. I will say though that those that are called and are usually available are the ones that will be called for future jobs. If a casting director calls you several times in a course of a month and every time you have a conflict that casting director will sooner or later stop calling you for jobs. Why should they keep trying to get you work when you are always unavailable? There are BG actors that are go-to people because they always seem to show a flexible schedule. For every yes you make there lies a future job to take.
8. Extras Casting Directors have to find all types of things on a daily basis and the more skill sets, wardrobe options, and props you have the more versatile you make yourself which puts you in demand and this ladies and gentleman are where the pay bumps are. You get paid extra for props you bring to set ( your car); you get paid extra for bringing wardrobe changes (homeless wardrobe w/business suit change, but this only applies to those in SAG-AFTRA); you get paid extra when you can pole dance (Portraying a stripper who can pole dance). So if you have 2 pairs of bellbottoms, own rollerskates, and can do a split in those skates not only do you get the job but you just doubled your daily paycheck. The rarer the skill set the more money you will be paid.
9. So you are a union actor and look like Matt Bomer. The only problem is you have no idea what project he is working on and what agency handles that project. If you do your research you would know the answer to both questions and could potentially be used as a Stand in or Body Double (This is once again a chance to make more money people — doing stand in work pays more than doing just BG, again though you would have to be a member of SAG-AFTRA). My point is that the more you know about what you are doing the better chance of landing work and being paid well for it, that requires doing the proper reasearch. Nothing looks more embarrassing for you when you call an agency asking to work on a show that not only don’t they work on, but is done on the other side of the country.
10. The absolute best way to your chance of getting work is just to be professional. Act appropriately, ask questions if you don’t understand something; call the casting agency if you are running late or can’t make the shoot ( at a proper time, not 20 minutes after you were supposed to be on set); bring the proper wardrobe; listen to instructions the PA’s give; Don’t ask for autographs while on set; don’t ask the AD’s for waivers. Be the professional that you are expected to be, and trust me you will be called again for more work, but don’t call us we will call you.
Thanks for your insight into this part of the business, Daniel! Please leave him comments to share your thoughts and thank him for his time!
How To Become Productive In Under Fifteen Minutes
So you’ve had a great week of auditions, (callbacks!), networking events, and play readings and shows. Yay!
But you get home, and there’s something looming in front of you. You can’t quite make it out, but who really cares?  You’re still somewhat flying on the high of today’s success. You go to sleep and the next morning when you wake, you realize …
You’ve eaten the last of the Cheetos!
Wait. What?
No. Â It’s worse. It’s….
ACTOR PANIC!  That insatiable feeling that sets in every time we realize we’ve just sprinted through a very busy acting phase, but now when we look at our calendar before us, only job shifts and a friend’s BBQ litter our week.
What do you do??
THIS.
It’s a way to fill up your calendar with theatre/film/art related events in order to ease your mind and keep yourself productive. I call it …
How to be Productive in Under Fifteen Minutes:
You will need:
- Access to the internet
- A calendar
- Twitter and Facebook accounts
What to do:
Keep the cell phone far away and on silent. No distractions. You’re busy, people!
1. Log in to Twitter. If you’re following the right tweeps, you should be able to find at least one event or audition. Here are some suggested tweeps (just click and follow):
2. Check playbill.com. Find an open call. Put it on your calendar
3. Check in at The Drama Book Shop. Are they having a reading soon? A famous playwright? Put it on your calendar.
4. Check in with the theatre companies for whom you want to work. Â Are they having fundraisers? Â Events? Â Auditions? Â Shows? Â Workshops? Â I check in with:
- The Shelter Theatre
- The Flux Theatre Ensemble
- FullStop Theatre Collective
- On The Square Productions
- Mad Dog Theatre Company
5. Find two hour chunks this week where you can sit down and just read scripts. Put them in your calendar.
6. Find fifteen minutes per day for the next seven days to devote to tweeting, liking, and promoting other artists via social media. Put it in your calendar.
7. Find a night to see a Broadway or Off-Broadway show.
8. Call a friend and schedule an hour of studio time to work on material. Try these:
- Simple Studios
- Shetler Studios
- CAP21
- Pearl Studios
- Studios 353 Â (room 6 is perfect and cozy for one on one voice lessons)
Commit to the schedule you’ve created!  If something unexpected comes up or you’re met with a better opportunity, go with that, but reschedule what was in your calendar and commit to doing it.
Got it? Â Ok!
Now go get yourself a medium french vanilla iced coffee with skim and two Splenda and start on your first activity TODAY. Â It’s what you gotta do in order to ….
“You know, I’m sick of following my dreams, man. I’m just going to ask where they’re going and hook up with ’em later” – Mitch Hedberg
Onwards and Upwards,
Perspective in Progress
A lot has happened since I wrote my last blog entry…the show run ended. There was the performance for my other show—a success! I pledged and joined Alpha Psi Omega (the national collegiate honor society for thespians, is anyone else a member?) and as soon as finals were finished, I took a train to New York City with a small class of English majors to compare the Broadway productions to the scripts we had been reading. I was lucky enough to see Death of a Salesman and even luckier, we were in town for the first preview night of Harvey. I was only in town a few days on a tight schedule (most of my free time was spent walking/subway riding to where I guessed was where I wanted to go. I haven’t figured out the trick yet to reading subway maps (or Central Park maps either).
Now I’m back from the city and in my childhood home, dividing up my possessions depending on what part of the state they are going. I’m moving out again to spend my summer working House Management for a theatre company and my contract ends the weekend I head back to school—so everything I own is separated into three piles: college, work, home. That’s the way I envision it’s going to be for the next few years at least. Is there ever a time when an actor gets to say “This is my house and I’m going to stay here no matter how the casting goes?” Just curious.
Well, while I am packing, I tend to be easily distracted by Netflix and more importantly, by re-reading the journal entries I made at the beginning of the year. Talk about perspective! Last August, I was in a bad place, mostly emotionally, but I had the ambition to change that. I got back to college, I cut my hair short (I’ve never had short hair before but I’m still loving it!) and on my first day of classes, I got into the BFA Voice and Movement class. I wrote about how I wanted to create theatre and that this year I was going to work on figuring out my type and where I wanted to go with this.
Two semesters later: Accomplished. The funny thing is, I didn’t set out to achieve those goals, it’s like they were in the back of my mind as I went along and they happened anyways. All of my performances were original shows ranging from commedia and busking, 24 hour plays and devised theatre and it was all so much more satisfying to me, to make it. The last show of the year was one created by and for my Voice and Movement class—a year ago, I had no idea if I would be allowed to join the class but I was going to ask anyways. No regrets, right? I’ve learned more in this class than I’ve ever learned in my life, including the idea of “no regrets”. I applied that idea to audition too, which took place in that same first week. I wrote long, detailed entries on every single audition and the aftermath. I’m proud to say that I did follow my no-regrets rule: I fell off a chair but the director/auditioner did ask me to be in his other show the next day! Unfortunately, I wasn’t cast in any of the other big shows but I took feedback where I could, even from friends. A friend of mine pointed out post-auditions that he can’t ever see me being (forgive the language, but) a bitch, hence the lack of casting? He was right and by the end of this year, I had two opportunities to play the bitchy characters. For my efforts, I was awarded by the seniors, the Sweetheart award.
Sometimes you got to do what you think is wrong to know that it is, right? Being a bitch was that for me. Trying to play characters that aren’t right for me helped me get a sense of what is right. Another source of feedback comes directly from my professors. Before the end of the semester wrapped up, I scheduled a meeting with our department head who’s known for giving you a serious and honest talk about looking forward at your potential post-graduate future. Better two years before than two weeks, right? So I got that but I also got a glimpse of past-perspective from another professor on my last day of classes. I had him since Day 1, in the Intro to Acting class and he’s seen me mess up and he’s seen me have the lightbulb moments. So to hear him say how much I’ve grown as an actor since then—seeing from another angle of perspective is always nice too.
I feel this post is mostly rambling about what happened to me this past school year but I tried to give it some purpose and good valid points. Setting goals for yourself and accomplishing them; no regrets and all that. Mostly, that you can’t judge where you are without seeing where you came from, that long road in getting there. What I’ve learned in a year, the short version. My perspective though, is always in progress because I am a work in progress. I got this far and as far as I’m concerned, I have a lot farther to go than I can see from my perspective but I’m already coming up with next year’s goals.
Video Auditions: What, Why, and How?
Happy Monday again!
My apologies for those of you who may be stopping by for another movie musical recap. Â As I mentioned last week, I have been in rehearsal for the past month for a rep season, in which I am featured in three of the five mainstage productions. Â We opened late last week, and between tech-dress rehearsals leading up to opening and the start of the season’s run itself, I have not had time to watch a movie and write. Â So, like last week, I thought I would take some time to reflect on an aspect of my current state of employment. Â Today I’ll discuss how I got the job in the first place, through a method that is becoming more and more regular in the casting process. Â I’m talking about the video audition.
Within the past few years you may have noticed that more and more theatre companies are offering actors the option of video auditions in lieu of an in-person audition slot.  Formerly reserved solely for special circumstances (such as prospective college students who are unable to make a trip across several states to audition in person), the video audition is now becoming an accepted part of the casting process.  This is particularly true of shows not being produced in/around the BIG FOUR (the four cities in America probably best known for theatre: New York, Chicago, Philadelphia and Los Angeles).
I was initially suspect of the whole prospect of the video audition. Â How could that possibly be on par with actually being in the room? Â How would my theatrical acting appear on film–even Olivier had trouble with that change, so how would IÂ fair? Â And seriously, who even watches those things? Â The whole thing seemed like a ridiculous ruse. Â But, having nothing to lose, I went ahead and submitted one anyway. Â And: RESULT! Â I received an email from the Artistic Director of the theatre company to send on an additional monologue and song–the equivalent of a callback, but via video. Â I sent that off too, and again: RESULT! Â I am now working at my first paying job in the theatre ever. (**Takes copious bows, accepts bouquets, holds back tears of false humility.**)
So how can you too make a successful video audition? Â First things first, you will need the following:
- Yourself
- Appropriate material for the audition
- A camera
- Some kind of video editing equipment
- A YouTube or Vimeo account–or access to a DVD burner
- Appropriate audition attire
- A friend (Not required, but recommended.)
You start the process by finding an audition that requests a video submission. Â Brilliant. Â If a company is asking for video submissions, they are willing to put the time in to watch them. Â Otherwise, they would not ask. Â That being said, like a mailed submission, getting your work to a producing body as soon as possible is smart. Â They may become so inundated with submissions that they cut off at the first 100. Â And you don’t want to be #101. Â Get it?
Once you find this audition, read the material you are auditioning for. Â This is one of those points that gets told to us over and over again, but it bears repeating. Â If you know precisely what you are auditioning for, it will up your chances of finding material that is most appropriate for the roles that you would fit well in. Â If you are auditioning for a season of shows, read/listen to everything that is being produced and find the roles that are similar in tone. Â Try to choose material that display aspects of that character type. Â For more specific advice on finding great material for auditions, I recommend checking out this post from our guest blogger Rhonda Musak at her site here.
Now that you have your brilliant material, and you’ve memorized it, you may want to consider getting coached. Â Some people feel this is unnecessary, but I think an outside eye is always helpful. Â If you can’t afford a coaching, you can always find a sympathetic friend whose artistic opinion you trust and ask for their assistance. Â They will probably do it because not only will they be flattered you asked for their help, they may also request the favor in return later on. Â If you don’t feel like you need/want any advice on your text, I would recommend to at least practice speaking the monologues to someone before shooting, or even having someone stand off camera to deliver the speech to while you are filming. Â It will help your work be more present and active. Â It’s also nice to not be acting all alone.
You’ve gathered and prepared your material, and are now ready to shoot the audition. Â If you are working on your own, you may use a web cam or a camera built into your PC. Â You may also opt to have someone else film you. Â There are companies who do this sort of thing, like Skytown Entertainment. Â Alternatively, you could have a friend with a largess of FinalCut Pro knowledge do you the favor of filming and editing together your footage (which is what I did). Â Whatever works for you is fine, but if you are using someone else, make sure you trust their photography skills. Â If you opt for a built-in camera, make sure you trust your equipment and your own prowess to record and cut together the footage you plan on using.
A nice structure (but not required) for a video audition is to introduce yourself and your pieces before cutting to any monologue or song. Â Think of how you would normally audition in the room and try to capture that feeling again. Â That being said, you may want to make distinctive cuts between each piece, instead of finishing one and then going immediately into another–one of the benefits of the video audition is that you can do multiple takes. Â So take time with each piece to record something you know is as you want it before moving on to the next part of the audition. Â Alternatively, you can introduce the pieces with a frame of text that lists your name and your selections at the start of the submission and between each piece.
Once you’ve shot and edited together your video submission, load it onto an online video database, such as YouTube or Vimeo. Â I prefer doing this to mailing a DVD copy because it reaches the companies faster, is more convenient for them to pull up, and won’t get lost in the mail. Â I’ll also be able to see where/when someone has watched the video. Â If you do post a video submission online, I highly recommend making the video private so that only the auditors can see it. Â No need to leave yourself open to the fickle ridicule of the Internet, where the masses think they can do everything better than you.
And now you wait and see.
Things I would not recommend when shooting a video audition:
- Cutting between lines in a monologue: It just comes off that you cannot remember a whole monologue and say it at once. Â Ouch.
- Shooting outside: You don’t know if the weather will hold, and the elements themselves may upstage your otherwise brilliant delivery. Â Clear a space in your home, or up the ante by renting a rehearsal room for an hour.
- Not showing your whole body: The producing company is hiring all of you, not just a close up of your face. Â Be sure to have at least one piece showing your whole body and how you use your physicality–it will help give them a greater sense of how you are on stage.
- Shooting alone: Again, a hard thing to do, and probably not ideal in terms of staying present. Â I myself attempted to shoot my second submission for the job I have now all by my lonesome, and ended up with about six hours of unusable footage. Â For your enjoyment, below is a short display of some of that footage…and my descent into madness.
Have you or someone you’ve known gotten cast via a video audition? Â Do you work for a company that accepts and casts from video auditions? Â Tell us about it!
Now this kind of relationship is drastically different from those discussed up until now, and in a way is the most complicated. The Director, the Playwright, the Actors… they’re all in the rehearsal room and it’s easy to gauge when someone is lost or isn’t on the same page. With Designers, it’s all about being able to clearly communicate so that the entire team is working on mounting the same show [it’s no good if the Scenic Designer has the Technical Director build a yacht when the Director’s decided in the rehearsal room that it would be hilarious to set the scene in a rowboat]. It comes down to being extremely articulate in Rehearsal Reports and following up on questions/comments.
In Pre-Production:
I always suggest getting every piece of paperwork possible from every designer possible [okay, so I may not ask for the channel hook up from the Lighting Designer… but you get my drift]. Elevation Charts from your Scenic Designer are extremely helpful in rehearsals when cross referenced with the Costume Plot from the Costume Designer and the Choreographer/Director. [It’s really difficult to step on up on a 2′ platform when wearing a mermaid dress and stilettos]. Identifying these potential problems early helps avoid wasted time in the rehearsal room.
In Rehearsal:
This all comes down to putting everything in the rehearsal report and communicating clearly. The Designers don’t and can’t see what happens in rehearsal every day. The SM must be sure that the relationship with the Actors, Playwright, and Director are singing harmonies so that proper information can make it to the Rehearsal Report. This is a relationship that is all about communication, giving necessary information and gathering necessary information [nothing’s worse to a Designer than a Silent Stage Manager… and nothing’s worse to a Stage Manager/Director than a Silent Designer]. In default, CC everyone on everything that could even remotely relate to their department and people usually will let you know if they don’t want to be included in certain conversation.
In Tech:
If all of your relationships have been maintained properly up until this point, your Paper Tech [write cues in script] should have happened before Designers cue/finish any work and well before you enter the room for Dry Tech [tech without actors], which is ideal to happen before ::ACTUAL:: Tech [tech with actors]. In Tech, communicate to the Appropriate Designer any problems [i.e. the shoes for Sally in Scene 2 are slippery to the Costume Designer and So-and-So broke the glass pitcher to the Props Master/Mistress]. The SM must also keep up with any cue placement changes, added cues, and deleted cues to maintain the book. Because of how much is going on during a typical Tech, in my experience the ASM has directly dealt with Props, Set, Costumes [things the ASM can tell are problematic from their unique Backstage View] and the PSM has dealt with Lights/Sound/Video and anything that’s run or called from the booth. Obviously the ASM and PSM should have so much communication going on between them that they should nearly develop the ability to read one another’s minds.
During Performances:
During Performances, the SM must maintain the show and accurately report in performance reports any problems [i.e. “Sally’s strap on her stilettos broke, need new shoes for tomorrow”]. At this point, the Production Staff takes over to maintain the Designers & Director’s vision. The Designers should still be CCed on Performance Reports to offer input [i.e. “I left Sally an extra pair… they should be in the costume bin, if you can’t find them they are model #2465 from macy’s”] and the Production Staff should know how to fix anything as necessary to make sure that nothing is compromised as the run continues.
I hope you’ve enjoyed the last few posts on maintaining relationships from a Stage Manager’s perspective; are there any other relationships you’re curious on protocol or can you offer any input from a different vantage point?
RELATIONSHIPS: Stage Manager – Playwright
The Stage Manager – Playwright relationship should be akin to that of the NYPD to Congress: Congress may make the laws, but the NYPD has to enforce them without question [even if the cop has never even been to DC]. That being said: the text is the bible. In a published work, Actors must be “word perfect” on their lines and Directors may want to cross out or change certain sections, but it is the Stage Manager’s job to protect the written work of the playwright.  The play has been published/copy righted/previously produced: nothing can change in the text [stage directions are much more touch & go: only keep stage directions that have an important impact on the story. 9 times out of 10 the stage directions you see in a script are notes from the very first SM about the blocking from the Director and not the Playwright]. Now of course things are different when working on a New Work & the playwright is in the room:
ACTOR: this line doesn’t make sense
DIRECTOR: yes it does, it’s about…. it’s… it’s about –
PLAYWRIGHT: okay okay, here’s the new line…
In that case, it’s the SMs job [or hopefully there is a PA or ASM to assist] to keep track of the changes so that everyone continues to work off the same cohesive script and everyone knows what changes have been made on a daily basis.
In Pre-Production:
In Pre-Production the SM should become as familiar with the script as possible. The SM should be intimate with the script [champagne… strawberries…] And know it inside and out before the first Production Meeting. If it is a new work/playwright in room; develop a system early on for submitting and distributing script changes throughout the rehearsal process. This will make everyone’s lives easier as we go on. Remind the Playwright that they are the writer and not the director [unless, of course, they are both] so ask that questions/comments be told to the director and not to the actors to avoid “do I listen to the Playwright or the Director” issues.
In Rehearsal:
In rehearsal, give the actors meticulous line notes in hopes to have a “letter perfect” production [a particularly picky example: there is a difference between “didn’t” and “did not.” as there requires a different cadence with the speech pattern the Playwright intended and may say a lot about the character when/if that character ever uses contractions]. As a Playwright myself, I know I labor over the many ways to get an idea across. There’s a reason the Playwright chose “steak” instead of “chicken” so do your best to figure it out instead of “accidentally” rewriting it.
In Tech:
In Tech, the SM should be sure that there is a LOCKED copy of the script [when working on a New Work] and printed out an updated script for Designers so everyone [literally] can be on the same page. It’s particularly important to have a music stand open and following along backstage so the Actors can follow as necessary because it’s likely that the one monologue about the Glowing Fish has changed about 50 times during the rehearsal process and when jumping cue-to-cue in tech it’s easy to confuse version 30 with version 50. Regardless, it’s not “too late” to hope for a letter perfect performance. Keep giving those line notes and make sure the actors study them!
During Performances:
Even after the show is open, the Actors still should receive line notes [though I tend to be a little more lax on giving the notes unless the Actor gets the same note twice in a row]. It’s the SMs job to maintain every aspect of the performance, including the script!
RELATIONSHIPS: Director – Stage Manager
Alright, back to some of my favorite topics on what Stage Managers really do: balance the many personalities of relationships involved in a production. All the relationships are important, but perhaps the most essential is the Stage Manager-Director relationship. The Stage Manager has some cross-over between the Tech crew and the Actors; we “swing both ways” so to speak and relate to both sides of the conversation, even when they’re not getting along. The Director has the vision, and also relates to both sides of the coin. However, the Director’s vision may not always be safe or possible within the limitations in any given production. To avoid problems in bringing the Director’s vision to life in a safe and humanly possible way, the Stage Manager and Director must have an open and trusting relationship established before rehearsals start to avoid tension, frustration, wasted time and money. As always, the relationship must be clear on both sides, but the relationship is mildly different in pre-production, rehearsal, tech, and performances.
In Pre-Production:
In Pre-Production meetings, the Director must be vocal about his/her ideas so that the tech staff knows how to properly spend the budget and create the technical elements. Let’s say we’re in an experimental piece where the set is an over-sized playground. There are 8 swings on a set, suspended from the lighting grid that hang 5′ in the air. The Scenic Designer’s intention may be for purely visual effect. However, if the Director sees this potential, s/he may already be thinking “wow, let’s have a human ladder and the main character will climb to the top of the highest swing! It’ll be great!” If the Director or Scenic Designer doesn’t bring it up [before the Lighting Designer keels over because of how these swings will shake his/her lights], the SM needs to have the intuition to say, “hey, are these weight-bearing?… how can an actor safely get up there?…etc.” Find any potential problems early, so that the Designers and Director can be extremely clear and working towards the same outcome before anything is built or bought. It will help the SM identify these potential issues early if the Director is open about the concept s/he plans on staging the piece, particularly in non-Realism.
In Rehearsal:
Okay, so let’s assume our Giant Playground Play is an AEA production. Before rehearsals start, the SM should ask the Director how s/he prefers to take breaks [5-every-55 or 10-every-80] and if the Director needs a warning for the breaks. I’ve found that “break warnings” work well, if there is a way to tell the Director how long until the next break without the Actors also hearing. Not to keep anything from the actors, but I’ve experienced where the second you say “5 [minutes] to a 10 [minute break]” the attention span goes out the window, and I’ve even seen Actors start checking their cell phone at this break warning. It’s the SM’s job to make sure the Rehearsal time is used wisely and productively. This includes stopping the Director when he/she goes off on tangents; noticing Actors who may no longer be needed at rehearsal because we’re running behind/running ahead of schedule; giving the Actors breaks at appropriate times and PROTECTING those breaks. Dearest Directors, a break does not mean you go around to each actor to give individual notes. They need to relieve themselves, check the status of their next callback, grab a coffee, answer their Mom’s voicemail, and confirm with their Agent the location of their next audition. They only have 10 minutes, make sure they get their personal needs taken care of so they have your full, undivided attention when they return from breaks. A break is a great time to touch base with your Stage Manager about what you plan on doing for the rest of the rehearsal. Touch base doesn’t mean discuss with them for their full 10 minutes [we have needs too] but no one wants to come back from break just to watch Stage Management take 5 minutes to set the next scene.
Also, no secrets! The Stage Manager should hear almost everything said in a Rehearsal Room. Even if you don’t think it pertains to them, don’t whisper to the Actor how s/he is supposed to do a back flip onto the Upstage Swing. Even if you need to “tell a secret” to the actor to get what you need out of their performance, you should tell them this secret near the SM table or relay precisely what was said to Stage Management. Reason being: even though we’ve already decided with the Scenic Designer that that is the swing that will be safe, this development of the back-flip means the SM has to note in the rehearsal report to Costumes that the Actor will be wearing something appropriate and safe for the stunt. This also goes for any added prop. I can’t tell you how many times I’ve had this conversation:
SM: “Hey, so Actor A is doing this weird pantomime thing with his/her hands; what’s going on with that?”
Director: “Oh, we don’t have that prop yet… can you get something for rehearsals?”
SM: “Uh… which prop is this?”
Director: “The coffee percolator with rubber duckies attached of course!”
SM: “… right. Let me know next time you add a prop.”
Director: “What did you think she was doing? She was shooting out bubbles from the spout”
SM: “… the duckies shoot bubbles?”
Director: “No the frog soap dispenser does!”
SM: “… now tell me about this soap dispenser…”
… You get the idea. Communication is the key and the Director/Stage Manager open forum of communication is essential to setting up a smooth tech process. If the Director chooses to use an Assistant, one-on-one conversations with the SM are still essential. It’s like the telephone game, if the Director explains the frog soap dispenser to have a bubble coming out of it, the Assistant Director may think plastic bubbles as a design element, while the Stage Manager puts in the report that bubbles overflow and cascade down the sides when what the Director actually wanted was a cardboard “thought bubble” to appear out of the frog and hold up the actors next line. Talk to your SMs, it just saves time.
In Tech
It’s the Stage Manager’s show now. Let them run it, but be vocal about any notes as you go through tech. It’s kind of pointless to Tech a scene just to get to the end and have the Director say, “so that second light cue was all wrong and the sound wasn’t right at all.” That’s what Tech is for. Just let the Stage Manager be the one to say “Hold Please,” going through proper channels keeps everyone calm and on task.
During Performances
Okay, it’s Opening Night and Actor A didn’t twirl onto the Swing counter-clockwise; she twirled clockwise!!!!!! How devastating! Now, the Director may want to rush Backstage the second the curtain call is done, but it’s not your game anymore. No more notes. If the Director sees a show on or after Opening, and s/he sees something out of place, notify the Stage Manager [the SM has probably already noticed the improv] and ask him/her to talk to the Actor. This is the proper channel, this makes sure the performance is maintained in the best way possible.
Directors, help me out here, what else can we Stage Managers do to make for a harmonious Production process?
RELATIONSHIPS: Actor – Stage Manager
I recently went to the off-Broadway Networking Event hosted by Actors Equity. A lot of what the Production Managers and General Managers on the other side of the table wanted to know was how I dealt with the relationships of the production as a Stage Manager. An important part of Stage Managing is the ability to compose relationships so that the team works productively and harmoniously. A Stage Manager’s relationship with an Actor is completely different from their relationship with the Director and likewise the Technical Director, etc. But the relationship has to be clear both ways, otherwise frustration and miscommunication is inevitable. For example, if you must put request the Producer/Production Manager to change the time of a rehearsal – though this means an hour’s worth of juggling spaces and times for them, they simply say “yes, I’ll let you know where you’ll be.” We all have jobs to do, things go unexpectedly, hey – it’s live theatre! Be respectful of everyone’s necessary position, and bring information and any issues to the appropriate person.
The Actor-Stage Manager relationship is absolutely key. There’s a reason Stage Managers and Actors are in the same Union. The Stage Managers are there to protect the Actors. SMs are the only Actor representative on all technical or practical issues, they ensure proper information is given to all and guarantee safety so the Actors can concentrate solely on their craft. Likewise, the Director-Stage Manager relationship is as important, and that relationship requires the Stage Manager to maintain the Director’s vision, including watching the Actors after Opening. The relationship must be clear on both sides, but the relationship is mildly different in rehearsal, tech, and performances.
In Rehearsal:
In regards to the Actor, Stage Management is responsible for rehearsal breaks, recording blocking, being on book should an actor call “line,” updating everyone on schedules, and answering questions. I know that we’ve all have horror stories about past colleagues – but let’s assume everyone does their job well. If you are blocking a scene on its feet – even if the Actors take notes as they go – Stage Management’s book is Bible. When going over blocking, if the Actor doesn’t remember [or remembers differently] trust that Stage Management could have caught something you missed or forgot [note: often Directors say “try your cross on this line instead of that line, but we won’t go back, let’s move on…” and Stage Management will update the blocking in the book, so the Actor will obviously remember crossing on a different line at the last rehearsal]. If there is a strong discrepancy let Stage Management speak with the Director, that way they can update everything and everyone accordingly. Same goes for rehearsal breaks, conditions, and rehearsal time.
In Tech
Stage Managers are sometimes referred to as “god” because of the role they play during Tech. The Actor-Stage Manager relationship during tech is much removed from the rehearsal conditions. The Stage Managers are far away, and sometimes can only communicate via email, god mic/intercom, or briefly in passing. SMs have a lot on their plate during tech, be sure to use their assistants appropriately and email questions or concerns if you don’t have a chance to speak in person.
During Performances
Actors should respect Stage Management’s call times for brush-up rehearsals, fight/flight calls, and shows. Likewise, Stage Management must respect the Actor’s needs including:rehearsal requests, Equity Cot, and warm-up necessities [within reason]. As previously mentioned, the Director – Stage Manager relationship requires the SM to maintain the performance, so pay attention to Stage Management’s notes and don’t change your blocking or intent. If you’re stuck in a rut after opening, look to your “actor toolbox” to keep the performance fresh without changing the show.
The Green Room 