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The SM Paper Trail Rides Again How To Document Almost Anything Laurie Kincman Erin Joy Swank O VERVIEW Paperwork Philosophy Samples throughout the Show More Resources http://rmusitt.org/resources/stagemanagers F ACILITATING 101


  1. The SM Paper Trail Rides Again How To Document Almost Anything Laurie Kincman Erin Joy Swank

  2. O VERVIEW • Paperwork Philosophy • Samples throughout the Show • More Resources http://rmusitt.org/resources/stagemanagers

  3. F ACILITATING 101 • What does your show need? • What are the resources of the SM team? • When can you do it? • What is the best way to organize it all? • How and when are people reading what you send?

  4. G ENERAL THOUGHTS ON FORMAT • Make sure everyone can open it • Spell check and proofread • Is there a key? And a date? • Who is reading this and what do they need to be able to do with it?

  5. P REP W EEK • Organizing yourself and the SM team • Wrangling the existing production information • Collecting schedules and conflicts

  6. P RODUCTION A NALYSIS

  7. M ORE A BOUT P REP For Others For the SM Contact Sheets Prep Week and First • • Rehearsal Checklists Actor Packets • (with company mgmt) Blocking Key • Wallet Cards SM Log Book • • Sign-In Sheets Mini Groundplans • • Fitting Requests Music Breakdown • • (page numbers of score, Prop List libretto, vocal book) • (from Script Analysis)

  8. D URING R EHEARSALS Documentation • – Blocking in your script Communication to the cast • – Daily/Weekly Schedules – Line Notes Communication to the production team • – Rehearsal Reports – Script Changes Presenting the problem not offering the solution Tactful, timely and specific

  9. PLUS: abbreviating the cast/characters, the set, props or furniture • not in your stock key, areas of the theatre

  10. R EHEARSAL C ONSIDERATIONS • How often do you update? • Is it clear what you have added or changed? • Who needs updates? How often? • What do you need in rehearsal to efficiently move scene to scene ( not necessarily in order )

  11. T HE T ECH P ROCESS • Crew Paperwork • Cues in your script

  12. P ERFORMANCES • Adding new recipients to reports- and new details • Making sure you are “bus proof” • Planning for emergencies

  13. F INAL T HOUGHTS • Be open to what your show needs, not just what you’ve done before • Work smart • Collect samples, accept suggestions, embrace technology • And for more from us…

  14. http://rmusitt.org/resources/stagemanagers

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