1) What I am most proud of in my senior project is all of the experience that I gained over the last 9 months. I worked on 7 shows, 4 at iPoly and 3 at Chino Community Theatre, and this gave me the chance to work with people I might have never been able to work with. Experience is everything in my topic, and if I ever want to return to Stage Management, this experience will help me when trying to land jobs,
2)
a. P
b. AE
3) One thing that worked for me was finding mentorship and independent components, because I was always able to find something new to do. While many people had trouble trying to get mentorship, I had no issues and already completed 120 hours by the time September was over. From all of this work I was able to learn a lot and improve my skills.
4) One thing I would change is the period of nothingness I experienced between The Rainmaker and Lady of the House. In this gap I was confused and unsure of what to do next, and I feel like working on another show would have kept me busy and informed. Finishing mentorship so early left me with a ton of questions after I got past foundation, and this wasn't fixed until I finally was able to move onto another show and jump back into the swing of things and talk to new people.
5) My senior project has helped to improve my understanding and skill in Stage Management. Junior year when I jumped into drama, I had no experience, and much of what I learned right off the bat was foundational. Research and mentorship opened my eyes to some of the in depth things, and working with new people allowed me to pick up the good habits of those around me. Working with these people gave me new contacts and experience, which is what gets you new jobs in theatre, so if I ever return to the topic the 7 shows I worked on this year will definitely be put on my resume.
Thursday, May 30, 2013
I'm Done!
I
just finished my two-hour and I can say that I am going to graduate :D The next
three weeks are going to be some of the best of my life so far, and it’s going
to be sad the day that we graduate. I feel that I could not have had a better
senior year. I got to experience new things this year, and they were all
positive. I am definitely going to miss this school and the times I had here.
Monday, May 20, 2013
Mentorship
Literal:
Summer Mentorship
Mentorship
Check logs for contact info.
Interpretive:
Mentorship has provided me with experience, which is extremely important when it comes to Stage Managing. While research and books gave me a basic understanding of what Stage Managing was, it is a topic that requires you to get hands on to really appreciate it. My mentorship gave me plenty of the experience and guidance under Greg Cohen and Emerald Gonzalez, both of whom were invaluable when it came to answering my questions and giving me tips when I was trying to work things out. Experience is also necessary when one is bidding for jobs at a theatre, because there is a good chance that the company will not hire anyone with no experience. My mentor, Greg, has told me numerous stories about moving to Southern California from Northern California, and how he had issues finding jobs here because all of his experience was in local theatres up north.
Applied:
My essential question is 'What makes a Stage Manager essential to a theatrical production,' and my mentorship helped me both form this question and answer it. My best answer to my essential question is calling the show, and I got to do this for two shows for my mentorship. Actually working the shows gave me hands on experience, and helped me realize that my first two answers were only important in the rehearsal period, and that the Stage Manager really takes control of things during the run of the show. In addition to the hands-on aspect, I was also able to ask my mentors, Greg and Emerald, about my answers, and their input helped me decide which were important, and which weren't necessary.
Summer Mentorship
Mentorship
Check logs for contact info.
Interpretive:
Mentorship has provided me with experience, which is extremely important when it comes to Stage Managing. While research and books gave me a basic understanding of what Stage Managing was, it is a topic that requires you to get hands on to really appreciate it. My mentorship gave me plenty of the experience and guidance under Greg Cohen and Emerald Gonzalez, both of whom were invaluable when it came to answering my questions and giving me tips when I was trying to work things out. Experience is also necessary when one is bidding for jobs at a theatre, because there is a good chance that the company will not hire anyone with no experience. My mentor, Greg, has told me numerous stories about moving to Southern California from Northern California, and how he had issues finding jobs here because all of his experience was in local theatres up north.
Applied:
My essential question is 'What makes a Stage Manager essential to a theatrical production,' and my mentorship helped me both form this question and answer it. My best answer to my essential question is calling the show, and I got to do this for two shows for my mentorship. Actually working the shows gave me hands on experience, and helped me realize that my first two answers were only important in the rehearsal period, and that the Stage Manager really takes control of things during the run of the show. In addition to the hands-on aspect, I was also able to ask my mentors, Greg and Emerald, about my answers, and their input helped me decide which were important, and which weren't necessary.
Sunday, May 19, 2013
Closing!
Today
we closed our shows, and I am definitely going to miss this part of my high
school experience. Many of the best memories I made were in drama club, and
this was the place where I gave purpose to my time at iPoly. The cast of Delval surprised me by calling me up on
stage and thanking me at the end of the run, which was a heartfelt moment. They
also gave me a great card signed by each of them, and I am saddened to see this
go.
Wednesday, May 15, 2013
Opening Night!
Sunday, May 12, 2013
Exit Interview Questions
1)What is your EQ, what is your best answer, and
why?
My essential question is What makes a Stage Manager essential to a theatrical production? My best answer is his or her duty of calling the show, because calling a show is what makes it come alive from the script. According to Emerald Gonzalez, Stage Manager at Chino Community theatre, if the cast were to perform strictly from the book, the show wouldn't have the same energy as if it was called live, leading to a full performance. The Stage Manager is completely responsible for the show at this point, and according to Thomas Kelly, author of The Backstage Art of Stage Managing, there is a mass exodus of creative forces, leaving the Stage Manager to maintain the show.
2) What
process did you take to arrive at this conclusion?
Coming into senior year, I already had knowledge
of what a Stage Manager was. Junior year, I was a Stage Manager for the iPoly
improv club, having started training sophomore year with Noreen, the Stage
Manager before me. It was through improv that I became an Assistant Stage
Manager for the iPoly Drama club, working directly under Joseph Hogan, and
assisting Teo Crisanto with whatever he needed help with. It was through this
connection to Joseph Hogan that I found my mentorship working on The Rainmaker
under director Greg Cohen at Chino Community Theatre. It was on The Rainmaker
where I was always being thanked for helping out where I asked myself why my
services were necessary, which led to my essential question.
My essential question, what makes a Stage Manager essential to a quality theatrical production,
needed to be backed up with a solid foundation. While I did come into senior
year with a basic knowledge of Stage Management, I needed to refine my
knowledge to come up with some answers to my essential question. To do this, I
found research, a lot of which came from UpstageReview.org, and conducted
several interviews with Greg Cohen and Emerald Gonzalez, and completed my first
independent conclusion, which led me to my first answer, recording the
blocking. After some more research on LoisBackstage.com, I came to realize that
blocking was only a small part of a prompt book, allowing me to claim my second
answer as creating and maintaining a prompt book. My third answer, calling the
show, stemmed from an article on calling a show on LoisBackstage, and The Backstage Art of Stage Management by
Thomas A. Kelly.
From these three answers, I had to pick one
best one, the one that undoubtedly made a Stage Manager essential to a quality
theatrical production. After conducting my fourth interview with Emerald
Gonzalez, I made up my mind that my best answer was going to be my third,
calling the show. There was some competition, especially from my second answer,
maintaining the prompt book, but I came to the conclusion that the prompt book
helped shape the quality, but calling the show brought it to life. My answer
was backed up when I read the chapter in The
Backstage Art of Stage Managing that explained calling a show, and Thomas
Kelly explained that when a show opens, all of the creative forces move on.
This is where the Stage Manager steps in and takes control over the running of
the show, and maintaining the original quality of the show.
3) What
problems did you face and how did you overcome them?
One
of the first problems I faced early on in the school year was mentorship. While
many of my peers were having trouble finding a place to complete their
mentorship, I had finished all of my required 50 hours by the end of September,
leaving me without a mentorship to go back to. This was worrisome when I had
questions and needed advice on where to go next, because my mentor lived in
Long Beach, a far drive from home in Fontana. While I did have all of my hours
done, I was afraid the overall quality of my senior project would go down
because of the lack of a regular place to go back to and continue my service
learning.
The
solution eventually came in the form of my independent components, which were
Stage Managing plays for the iPoly Drama Club. While working on Lady of the
House and Delval Divas, I was able to jump right back into Stage Management and
get hands on with every aspect of the job. In addition to my work at iPoly, I
also got into contact with the regular Stage Manager at Chino Community
Theatre, and was able to go back to where I had done my mentorship and work as
an Assistant Stage Manager with Emerald Gonzalez. I worked with a great cast,
and with the president of Chino Community Theatre, Christopher Deihl. This
provided me with plenty of people to talk to who have held every job in the
theatre business, and guidance in my search to find a best answer.
Another
issue that arose was during Investigation and Experimentation, and I was trying
to put together a survey to find what kind of impact a theatre degree had on a
Stage Manager’s salary. While creating the survey had not been an issue,
finding at least 22 Stage Managers to take the survey proved to be a difficult
task to accomplish. At first, I was under the assumption that I would be able
to use SMNetwork.com, a forum for Stage Managers to give advice and tips, and
this seemed to be the perfect solution. But when the time came to have people
take the survey, I found out that control booth required that users remain
active for so long before allowing them to create posts on the section of the
forum where my survey would fit. This left me distressed and frantic to find at
least 22 people to take my survey.
While
the clock ticked down, I went to Mr. Hogan, desperate to find anyone that could
connect me to the people I needed. After explaining my situation, Hogan
immediately jumped onto his email, and found an old friend named Whinnie Lock
who he had known at USC, and asked him if he could point us in the right
direction. Mr. Lock was able to put me into contact with the Production Manager
for the theatre department at USC, Ells Collins, who then sent my survey to
Stage Managers who she had known and met over her career. This gave me a
selection of Stage managers with different backgrounds, and when combined with
other people I had managed to survey, left me with enough people to go on with
my report. This just goes to show how important networking is in Stage
Management, whether it comes to finding new jobs or getting help with whatever
project you’re working on.
4) What
are your two most significant sources
and why?
My
first most significant source is The
Backstage Art of Stage Managing by Thomas A. Kelly. This book, lent to me
by Jon Shoemaker, is a very detailed descriptor of everything that has to do
with Stage Management. The author picks apart every small detail, and relates
every description with a story or example from his career. This book is so
significant because it treats Stage Managing as the main topic, as opposed to
most other sources I’ve read, which give the topic one small section among the
many topics in theatre. It also helped confirm that I made the right decision
in picking my best answer.
Another
most important source was my second interview with Greg Cohen, my mentor. This
interview took place at a time when I was confused about picking answers, and
Greg helped me decide. Greg is a director, but he has held every job in a
theatre, and has worked on dozens of shows. This experience, and his thoughtful
answers guided me to picking out my answers, and ultimately my best answer, in
addition to helping me build a solid foundation.
5) What
is your product and why?
After
completing my mentorship and independent components, I would have to say that
my product is the relationship I have formed with Chino Community Theatre and
the wonderful people who work there. While I don’t really consider Stage
Managing to be a career choice, it has become a great hobby and creative
outlet, and having this theatre that I can always go back to when I need an
outlet is a great feeling. Having these very experienced people who I can go
back to and ask for help when I need it gives me a piece of mind. It is also an
opportunity to go back and make a little bit of cash if I ever need it.
Tuesday, May 7, 2013
2014 Interview
1.
Q: Who did you interview, and what house are
they in?
A: My name is Angel Flores, and I am in
East House.
2.
Q: What ideas do you have for your senior
project and why?
A: My main ideas are either basics of
photography, of photography in forensics, because this year I have gotten into
photography as possibly being a career, and forensics because it would be a lot
of money to take photos, I would just have to get used to the blood.
3.
Q: What do you plan to do for your summer 10
hour mentorship experience?
A: My mentor is going to be Jack from ROP,
so I’m guessing I will either be working with him in his studio, or he will
take me to one of his wedding events or something like that. He is going to be
my mentor during the school year as well.
4.
Q: What do you hope or expect to see in watching
the 2013 2-hour presentations?
A: I’m just hoping that light will be shed
on how the two hour is supposed to work, because it seems like quite a bit of
work.
5.
Q: What questions do you have that I can answer
about senior year or senior project?
·
Q: Is there anything to really worry about?
A: It is all about just getting stuff done on time, and it isn’t as hard
as it seems. They (the senior teachers) will divide up what needs to be done
and when, you just have to stick to the schedule.
·
Q: How does research work?
A: Research is done almost every week towards the beginning of the year,
and happens less and less frequently as time goes on. During a research check,
you are responsible for bringing 3 articles to read during class, and you
margin note them. You also have to make a bibliography to accompany your
research, and keep everything in a binder
·
Q: What is a house competition?
A:
It is a physical activity, a challenge, or something else like a charity drive
or spirit week that awards the winning house a point (or several). The house
that wins overall at the end of the year typically gets free or deeply
discounted grad night tickets.
Thursday, May 2, 2013
Friday, April 26, 2013
Independent Component 2
Literal
a) I, Gabriel Barreras, affirm that I completed my independent component, which represents 30 hours of work.
b) Both Joseph Hogan and Emerald Gonzalez helped me complete my independent component.
c) https://docs.google.com/spreadsheet/ccc?key=0AnQkyOl-OY2PdGRjYktLMEhxQkhQQTJMUHVDWkxHMVE&usp=sharing
d) For my independent component, I acted as a Stage Manager on two different shows, one for the iPoly Drama Club and one for Chino Community Theatre. For the iPoly production of Delval Divas, I acted as the sole Stage Manager, and in many cases the director. This production has yet to open. For the Chino Community Theatre production of The Great American Trailer Park Musical, I was a fill in Stage Manager, as the usual Stage Manager had another show and needed someone to cover for her. I worked with her for several days, and after I was comfortable, ran a few rehearsals and a couple of shows. This play runs through May.
Interpretive
Working on any play, you are guaranteed to meet a minimum of 30 hours, and working on two of them really elped me go above and beyond the required minimum. With the Delval rehearsals coming in at 2 hours each, and Trailer park going for 5 hours at a time, as a Stage Manager I enjoyed constant work and many hours.
Applied
Most of my independent component was focused on rehearsal, which means working hands one with both my first and third answers, which include maintaining the blocking and maintaining the prompt book. Working on a rehearsal this long helped me affirm that neither of these two answers are the best answer, and that the best is calling the show. The Stage Manager I worked with on Trailer Park agreed with me that the most important duties of a Stage Manager are done after the curtain goes up. While working on the plays this time, I really focused more on everything I did, weighing the importance of different tasks in my mind, and I ultimately decided that the prompt book is only necessary for so long. Rehearsing with this mindset, and having another more experienced Stage Manager to answer these questions really opened my eyes and shaped my 2 hour presentation.
a) I, Gabriel Barreras, affirm that I completed my independent component, which represents 30 hours of work.
b) Both Joseph Hogan and Emerald Gonzalez helped me complete my independent component.
c) https://docs.google.com/spreadsheet/ccc?key=0AnQkyOl-OY2PdGRjYktLMEhxQkhQQTJMUHVDWkxHMVE&usp=sharing
d) For my independent component, I acted as a Stage Manager on two different shows, one for the iPoly Drama Club and one for Chino Community Theatre. For the iPoly production of Delval Divas, I acted as the sole Stage Manager, and in many cases the director. This production has yet to open. For the Chino Community Theatre production of The Great American Trailer Park Musical, I was a fill in Stage Manager, as the usual Stage Manager had another show and needed someone to cover for her. I worked with her for several days, and after I was comfortable, ran a few rehearsals and a couple of shows. This play runs through May.
Interpretive
Working on any play, you are guaranteed to meet a minimum of 30 hours, and working on two of them really elped me go above and beyond the required minimum. With the Delval rehearsals coming in at 2 hours each, and Trailer park going for 5 hours at a time, as a Stage Manager I enjoyed constant work and many hours.
Most of my independent component was focused on rehearsal, which means working hands one with both my first and third answers, which include maintaining the blocking and maintaining the prompt book. Working on a rehearsal this long helped me affirm that neither of these two answers are the best answer, and that the best is calling the show. The Stage Manager I worked with on Trailer Park agreed with me that the most important duties of a Stage Manager are done after the curtain goes up. While working on the plays this time, I really focused more on everything I did, weighing the importance of different tasks in my mind, and I ultimately decided that the prompt book is only necessary for so long. Rehearsing with this mindset, and having another more experienced Stage Manager to answer these questions really opened my eyes and shaped my 2 hour presentation.
Tuesday, April 16, 2013
Rehearsal at CCT
Hello blog readers :)
Today was the dress rehearsal for a new play I'm covering for at Chino Community Theatre, and it has been a long and crazy today. Me and Danielle Mariano are bringing a little iPoly flavor to this play that opens up this Friday. If you have a chance, The Great American Trailer Park Musical is looking to be as entertaining as it is mature! :D
Monday, March 25, 2013
Wednesday, March 20, 2013
Trailer Park
This just in! I will be helping out on the set of The Great American Trailer Park Musical
at Chino Community Theatre, under the guidance of Stage Manager Emerald
Gonzales. I met Emerald through Danielle, who worked with her at Chino for her
mentorship on The Nerd. I’m excited
to get back into regional theatre where I met many fascinating people with tons
of experience who could answer all of my questions. It’s also a great
experience to work with the different types of sets, and to be working on my
first musical.
Tuesday, March 5, 2013
Senior Project and ESLRs
1) Effective Learner
2) I have done several things to learn on my own, including my independent component which is stage managing a play on my own for iPoly. I have also created an account on ControlBooth, a forum dedicated to theatre tech that features advice and ideas. Recently, I have been working with more hands on stuff in preparation for Fullerton theatre festival.
3) Pictured is a snapshot from my independent component, taken from rehearsal for Delval Divas.
Wednesday, February 27, 2013
2-Hour Meeting Answer #3
1) What makes a Stage Manager essential to a theatrical production?
2) The need for a centralized figure to keep everything organized.
3)
a. A Stage Manager is responsible for keeping all documents and reports together for future reference, on them at all times. If anyone needs specific information, the Stage Manager will always have it on them or will be able to note down to ask someone else about it.
b. Documents that a Stage Manager needs to have organized can include things like contact information for cast and crew, the master script, scene descriptions, emails, notes, and other important documents.
c. All of these documents are kept in the prompt book, which unlike I previously thought, does not only contain a copy of the script. The prompt book is usually a heavy duty 2 inch three ring binder.
4) Source 34, How to Make a Prompt Book published on Lois Backstage, explained that the Stage Manager needs to be organized so that every person working on the show has one person to go to instead of stopping theirs and others work.
5) Next, I plan on looking up other documents that a Stage Manager needs to keep organized and at the ready in order to keep everyone on track.
2) The need for a centralized figure to keep everything organized.
3)
a. A Stage Manager is responsible for keeping all documents and reports together for future reference, on them at all times. If anyone needs specific information, the Stage Manager will always have it on them or will be able to note down to ask someone else about it.
b. Documents that a Stage Manager needs to have organized can include things like contact information for cast and crew, the master script, scene descriptions, emails, notes, and other important documents.
c. All of these documents are kept in the prompt book, which unlike I previously thought, does not only contain a copy of the script. The prompt book is usually a heavy duty 2 inch three ring binder.
4) Source 34, How to Make a Prompt Book published on Lois Backstage, explained that the Stage Manager needs to be organized so that every person working on the show has one person to go to instead of stopping theirs and others work.
5) Next, I plan on looking up other documents that a Stage Manager needs to keep organized and at the ready in order to keep everyone on track.
Tuesday, February 26, 2013
Fullerton
We are full on in Fullerton Festival swing, and in addition
to the tech crew games I competed in last year, this year I will be adding a
new performance category: improv! While I am nervous, I am nonetheless excited
for this opportunity, and I’m sure me and my team will get some good laughs
during our time slot. Also, if you see me walking around tying knots, know that
I am in the zone and in training!
Thursday, February 21, 2013
Fourth Interview Questions
1. What makes a Stage Manager essential to a theatrical production?
2. What routine do you generally follow when calling the show?
3. What does 'blocking' mean to you?
4. What do you feel is a Stage Managers most important task? Why?
5. What are some of the specific jobs during a show that make a Stage Manager completely necessary?
6. What regular theatre position, if any, could replace a Stage Manager? How would this work?
7. During the rehearsal period, what do you spend a majority of your time doing?
8. What kinds of things do you find yourself doing things for the show when you aren't at rehearsal or at a show?
9. How much time do you spend working on a show? (Including periods outside of rehearsals and show dates)
10. Why is a centralized figure needed to complete specific tasks?
11. What are some of the special skills a Stage Manager needs to have?
12. Why couldn't the actors pull off keeping their own blocking and running the show on their own?
13. How does the Stage Manager contribute to the success of a show?
14. When is it okay for a stage manager to not be there?
15. What is the Stage Managers goal when working on a show?
16. In what way should a Stage Manager interact with the cast and crew?
17. Why does the Stage Manager involve themselves with so many people?
18. Where is the Stage Manager stationed when running a show? Why?
19. What is the Stage Managers role as the head of the Stage Crew?
20. What are the consequences of removing the Stage Manager from a play?
2. What routine do you generally follow when calling the show?
3. What does 'blocking' mean to you?
4. What do you feel is a Stage Managers most important task? Why?
5. What are some of the specific jobs during a show that make a Stage Manager completely necessary?
6. What regular theatre position, if any, could replace a Stage Manager? How would this work?
7. During the rehearsal period, what do you spend a majority of your time doing?
8. What kinds of things do you find yourself doing things for the show when you aren't at rehearsal or at a show?
9. How much time do you spend working on a show? (Including periods outside of rehearsals and show dates)
10. Why is a centralized figure needed to complete specific tasks?
11. What are some of the special skills a Stage Manager needs to have?
12. Why couldn't the actors pull off keeping their own blocking and running the show on their own?
13. How does the Stage Manager contribute to the success of a show?
14. When is it okay for a stage manager to not be there?
15. What is the Stage Managers goal when working on a show?
16. In what way should a Stage Manager interact with the cast and crew?
17. Why does the Stage Manager involve themselves with so many people?
18. Where is the Stage Manager stationed when running a show? Why?
19. What is the Stage Managers role as the head of the Stage Crew?
20. What are the consequences of removing the Stage Manager from a play?
Wednesday, February 6, 2013
2-Hour Meeting Answer #2
1) What makes a Stage Manager essential to a theatrical production?
2) A Stage Manager is essential because they are the people who call the shows.
3)
a. Calling the show and the cues is the way the Stage Manager keeps the show running smoothly, by communicating with the tech crew, stage crew, house, and actors.
b. During the show, this is the Stage Managers main job, as it requires a lot of focus and attention to detail.
c. When the Stage Manager is running the show, the entire production is in their hands, and that is a lot of power that can only be taken on by people who can work with and lead others.
4) Source 27, an article titled Stage Management by Alandra Hileman, showed me that running the show is one of the most complex and rewarding tasks that a Stage Manager must perform.
5) I plan to continue my study of my seconds answer by looking up for research, and through real life experience in my independent component.
Monday, February 4, 2013
Delval
Rehearsals
for the spring show I will be directing have recently started, and I must say I
am very excited. In addition to my play, Delal
Divas, drama will be putting on two other shows, Nunsense and New Kids at Vampire
High, a feat no sane theatre department would attempt. While this will
require new lighting and set challenges when switching between shows, which
will rotate so each show is performed three times, I am looking forward to
solving the problems and putting on quality shows!
Sunday, February 3, 2013
Independent Component 2 Plan Approval
1) For the second independent component, I will be stage managing or working on several projects for the iPoly drama club. I will be stage managing for the production of Del Val Divas, and a couple of smaller scenes for Fullerton Festival.
2) 30 hours will be easily completed, because the various scenes and show will require 4 days of rehearsal per week, for several weeks until May.
3) My EQ aims to understand why a stage manager is necessary to a production, and gaining experience in the field under a professional teacher is easily the best way to learn what is important.
Thursday, January 31, 2013
Literal
a) I, Gabriel Barreras, affirm that I completed my independent component which represents 30 hours of work.
b) Joseph Hogan
d) I stage managed for iPoly Drama Club's production of Lady of the House, and also did the light design, and worked to build the stage.
Interpretive
I showed up to every rehearsal, normally 3 days a week, and did managerial duties, such as maintaining the bible, taking notes, gathering props, and running shows and rehearsals. I was also very involved with the design of the lighting, which took several un-logged hours, and helped to build the new stage required for the play, staying until 10 pm on a couple of nights.
Applied
Being that my topic is Stage Managing, the best way to learn is through experience, and going through the pressures of an actual show. If I ever slipped up, having a teacher who was trained specifically for theatre was very beneficial for the fact that he would guide me towards getting it right. Running an actual show gave me experience in all of the jobs, which helped me come up with my first answer to my EQ.
Friday, January 18, 2013
Monday, January 14, 2013
Third Interview Questions
1. What makes a Stage Manager essential to a theatrical production?
2. As a stage manager, what job do you find yourself most commonly doing?
3. Are there any tasks that you feel would be better completed by someone other than a SM?
4. What kind of compensation, if any, do you recurve for Stage Managing?
5. Have you ever worked on a show that did not have a SM attached to it? What was it like?
6. Do you feel a SM kind of pulls the show together?
7. What tasks do you find have the most priority when preparing for a show?
8. Where would you place a SM in the chain of command of a production staff?
9. Do you believe that any of a Stage Managers tasks could be accomplished by other crew, thus eliminating the SM?
10. Why does having a SM help or hinder a show?
Thursday, January 10, 2013
Blog 11; Mentorship 10 Hours Check
1. I completed over 50 hours of my mentorship stage managing The Rainmaker at Chino Community Theatre.
2. Gregory Cohen
3. 53 hours have been completed.
4. I staged managed the production for all 10 shows on the weekends in September. I would show up two hours early to curtain, set the props, prepare the food, clean up, call time, and keep the staff and actors informed on what was going. After the show, I would put the props back, and clean the set and backstage to prepare for the next show. I was always the one to turn off and reset the alarm every night, because I was the first and last to leave. I also went for 3 hours on the Saturday after our last showing, to break the set down and clean everything on the stage up.
2. Gregory Cohen
3. 53 hours have been completed.
4. I staged managed the production for all 10 shows on the weekends in September. I would show up two hours early to curtain, set the props, prepare the food, clean up, call time, and keep the staff and actors informed on what was going. After the show, I would put the props back, and clean the set and backstage to prepare for the next show. I was always the one to turn off and reset the alarm every night, because I was the first and last to leave. I also went for 3 hours on the Saturday after our last showing, to break the set down and clean everything on the stage up.
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