June Cueline

SELLING YOURSELF

CUELINE JUNE 2011

Moving on! SM-PM

Propping: INTERNET OR NOT?

EQUITY ELECTION TIME

ARTS COUNCIL CUTS No excuse for below-standard rates of pay

RSC REVIEW

Cueline

June 2011

CONTENTS Page 1-2

Editorial: Arts Council Cuts

by Sarah Cowan

Page 3-5

SMA TRAINING & EVENTS

by Barbara Eifler

Page 6

Cartoon

by Mark A Richards

Page 7

Equity News

by Brian Perkins

Page 8

60 Sec Interview

by Barbara Eifler & Sarah Cowan

Page 9

Review - RSC’s The Tempest

by Sarah Cowan

Page 10

Props pages: Brahms and Liszt

by Kim Hart

Page 11-14

SMA CENTRAL PAGES

by Barbara Eifler

Page 15-16

Beware the Internet

by David Evans

Page 16-17

Selling yourself outside of Stage Management

by Sarah Cowan

Page 18-19

CSM to PM

by Sarah Cowan

Page 20

Plasa Focus 2011

by Cath Booth

Page 21

Things to ask before you start a job by Sarah Cowan

Page 22-24

Your letters

Page 25

SMA NOTICEBOARD

Co-Editors: Barbara Eifler & Sarah Cowan

by Sally Palmer

Desktop publishing: David Ayliff

Views expressed editorially or by correspondents are not necessarily those of the association.

The editor reserves the right to edit submitted material without consulting the contributor.

Copyright © Stage Management Association (SMA) 2011.

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June 2011

Arts Council Cuts No excuse for below-standard rates of pay

W

ith the official Arts Council place to prevent new companies (and c u t s r e l e a s e d established) from ignoring the working ( w w w . t h e s t a g e . c o . u k / regulations. Preventing un-paid a r t s f u n d i n g / a c e - f u n d i n g - positions from advertising on arts supplement.pdf), theatres across the based job sites is a fantastic start, and country now have the task of filling hopefully Stage Jobs Pro will soon follow suit. Sadly, the Arts their funding gaps.

Council have already Options will include slightly u-turned on their cutting the amount of recent decision to do so, work they produce, staff, stating ‘We recognise that or facilities they offer. It is there is great value in a pertinent issue to Stage and Production people having access to Management, as this proper work experience, could result in more where it is offered and ‘ e m p l o y m e n t arranged properly and is a opportunities’ on the mutually beneficial basis you take on a arrangement, but that this Sarah Cowan number of roles (sole should never be used as a stage manager, wardrobe supervisor, way of attempting to circumvent lighting designer/operator, sound National Minimum Wage Regulations’. operator etc.), at non-equity rates, or At present the National Minimum wage flat fees. for those over 21 is £6.08 per hour, Cuts to the arts are such a regularity totalling £279.68 per week based on a that I doubt there are any professionals 46 hour week. The lowest Equity ASM who have not, at some point, taken on rate stands at £7.00 per hour totalling these positions at during their careers. £322.00. The difference between these However, there now appears to be an two rates indicates that when offering increase in non-paid positions, even such ‘opportunities’ companies cannot within established organisations. Is be considering upholding these there a solution to this, ensuring our regulations. Surely, a blanket ban on work is valued not just through verbal such advertisements is the only clear praise, but in a monetary fashion? message any job based website can Though Equity, TMA, SOLT, BECTU give. and the SMA do excellent work to Some companies budget on the basis ensure the rights of workers in the that they will pay below standard rates theatrical industry, there is nothing in to all staff, and that they will find

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people, presumably those without living costs, prepared to work for free in order to gain experience. (I am yet to meet said Stage/Production Managers). I have worked with those who feel unpaid experience is a valid, and necessary, way to get experience within the industry, yet when many positions require a relevant degree to get even these positions, can it ever be a fair system?

Whilst working with one particular company; ironically a show focussing on the workers rights dissolved by Margaret Thatcher, the Director angrily asked me in front of the cast ‘Why do we always have to think about break times’. This was met with laughter by the cast, and bewilderment by me!

I have begun to wonder whether the applications for funding actually state how many un-paid / low-paid people a production requires in order to create their piece. Are they required to state whether they are employing staff on equity contracts or internships, and more importantly, should they be?

Perhaps the industry is shooting itself in the foot by constantly under-valuing the cost of production, therefore causing theatre projects to appear much cheaper to our funding bodies, and Producers, than they actually are.

Those that choose to take on these unpaid positions are, in fact, complicit in their existence. After all, if no-one accepted these terms, companies would have to pay, or do without a backstage team. I say this as someone who has taken on the sole Stage Manager role on a number of

June 2011

occasions. Each time I seemingly forget how difficult it is to be in a rehearsal room all day, and magically sourcing props! Every time I take such jobs on, I swear it will be the last, yet their abundance dictates that I must, and leave me tired, and slightly dejected.

I am under no illusion that setting up a theatre company is an easy task, and I truly admire those that attempt it. I have produced my own theatrical pieces in the past, and it is an all encompassing task. If you have chosen this path, then you have inevitably chosen to create theatre regardless of the personal cost.

However, when it comes to the non-creative side of the production, is the work of Stage and Production Managers recognised enough for them to be invested in projects that may not acknowledge them monetarily?

Theatre cannot continue to remain separate from traditional workers rights any longer, as even if all those involved fit the creative ‘arty’ persona often used to excuse low pay in the arts, their work produces food for all our minds. I personally feel that the arts are a necessity, and not a luxury.

Their wide-reaching work is felt by all.

Without them we would have no theatre, film or television, and a large swath of books may never have been written. The Equity guidelines need to not only be recognised and enforced by all theatre companies, but by all its employees as well. Perhaps, one day, there will even be actual government legislation.

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June 2011

SMA EVENTS NETWORKS: EVENING NETWORK, Mon 6th June & Mon 1st August Venue to be confirmed, 9.30 onwards. If date has to change, we’ll let you know by email, Facebook and Twitter. Also, do check website.

DAYTIME NETWORK, Tues 5th July & Tues 6th Sep Scott’s Coffee Bar in New Row, just off St Martin’s Lane, 11am-12 noon. Watch out for email updates / Facebook page and website.

STUDENT AND GRADUATE NETWORK, Fri 1st July 6.30pm onwards, Captain's Cabin, 4-7 Norris Street London SW1Y 4RJ Student Rep Lyndsey Holmes and someone from the SMA will be on hand to answer your questions over a drink, or three.

OTHER EVENTS: ABTT THEATRE SHOW, Wed 15th & Thurs 16th June The SMA will have a stand – come and see us there, register FREE for the show through www.abtttheatreshow.co.uk - remember on the day it would cost you £10, so get pre-registered NOW! And at the Theatre Show, we would love you to join us for the fabulously enjoyable….

NATIONAL STAGE MANAGEMENT AWARDS CEREMONY Wednesday 15th June at 12 noon Details to be announced, but ALL MEMBERS are invited for this two hour event which includes drinks and nibbles.

ABTT ROADSHOW DURING ABTT SUMMER SCHOOL, Wed 27th July Usually late afternoon or early evening. Barbara will be one of the speakers at this event which takes place at Warwick Arts Centre on the campus of the university in Coventry. This is an informal forum with a chance to meet others and ask questions of a panel. There’s usually an enjoyable drink in the bar afterwards.

IN THE PIPELINE/STILL BEING ORGANISED: Priscilla, Wizard of Oz, RSC, Railway Children (returning to Waterloo…), repeat of Olympics Talk by Sam Hunter and Julia Whittle.

Do let us know your ideas and/or invite us to come and visit your theatre/show!

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June 2011

SMA TRAINING SMA SHOWCALLING, Sunday 7th August 10.30am for 11am start, 4pm Finish. Trainer: Kate Salberg.

Early booking recommended as this usually sells out very fast!

Contact the office on admin@stagemanagementassociation.co.uk or telephone 020 7403 7999.

Cost: £90 (£81 Early Bird – book and pay by 6th July) for SMA professional and graduate members. All others: £110 (£99 Early Bird).

IOSH Working Safely Course, Thursday 14th July Pete Goodwin is running this one day course, specifically designed for theatre production, at the Bristol Old Vic Theatre School. It is open to SMA members.

Details by contacting the Theatre School (enquiries@oldvic.ac.uk).

IN THE PIPELINE / STILL BEING ORGANISED: Scorereading. Automation Seminar. Sound for Stage Managers.

OTHER PEOPLE’S TRAINING FEDERATION OF SCOTTISH THEATRES Check for courses and funding on www.scottishtheatre.org.

Coming up: Child Protection Procedure – 31st May 2011, Dundee Technical Theatre for Directors – 29th June 2011, Eastwood Park Theatre Creating Great Visitor Experiences – 12th July 2011, Edinburgh Creating Great Visitor Experiences for Managers – 12th Oct 2011, Edinburgh TMA (THEATRICAL MANAGEMENT ASSOCIATION) See www.tmauk.org/events. Coming up: Frontline 2011; Essentials of Marketing: Druidstone; Effective Management: walking the tightrope; Sustainable Venues; Emergency First Aid: children and babies, etc..

GENERATING COMPANY Intensive week-long courses in the South of France! October, see www.generatingcompany.co.uk for training in: Aerial Training, Direction and Choreography, Creative Rigging, Production.

ITC (INDEPENDENT THEATRE COUNCIL) See www.itc-arts.org . Coming up: Marketing a Touring Production, Financial Management, Working as a Freelance Producer, Delivering Workshops and Managing Projects, Child Protection and Safeguarding, Evaluating and Assessing Arts Projects and much more.

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June 2011

TRAINING THAT’S ALREADY TAKEN PLACE… Finance for Freelancers took place on Sunday 10th April and this time, finally, I was able to take part in the whole day for the first time, and, boy, is this course marvellous! I wasn’t the only one to think so either as all the feedback from all participants was really, really positive.

David Thomas, for a start, is a superb trainer. You feel from the beginning that he has something valuable to tell you, that he is ready and prepared with his materials and his information and that you will get through all of it by the end of the day. And so it proved! He also paces things really well, so you never feel you are being rushed through, but also you don’t get the feeling he is padding things out – it seems right.

For the content, I cannot recommend it highly enough. It will be beneficial to you not just as a freelancer and a small business, but personally, too. He simply gives you the confidence, even if you are not naturally the most organised person when it comes to money and numbers, that you can get on top of your finances with just a reasonable amount of effort. And he can easily demonstrate that once you’re there – organised -, staying in that place is actually quite easy.

Particularly as he gives you ready made spreadsheets – electronically, available on his website! Updated with new tax information regularly! – to use for your accounts and finances AND you are encouraged to keep in touch and email him with any queries you might have.

I just think it’s the best course I have done in a long time and that the SMA should run it again next year and every year until every member and stage manager and other freelancer has been able to take advantage of it!

Company Managers Skills Workshops have been running over the first five months of this year, half day sessions, facilitated by Claire St Louis, with one or two experienced company managers helping a group of participants work through issues and scenarios they have experienced or witnessed in order to help arrive at ways in which they can handle a situation better in future.

I have only sat in on a fraction of the time, but the experienced company managers who gave their mornings for these sessions were simply brilliant and the most valuable outcome for attendees was that the discussions helped their confidence – they realised not only that there wasn’t usually a simple answer to a problem, but that there often isn’t a definitive one at all; that it is a matter of establishing your principles early on and then patiently working through problems with fairness, firmness and even-handedness. This opportunity to discuss company management issues in a safe environment was much appreciated and we are looking at how such opportunities can be provided in the future, now the workshops have finished.

June 2011 Page 6

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Never work with children or animals

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June 2011

Equity News

By Brian Perkins

N

ominations are in and for those of you standing for the Equity Stage Management Committee good luck to you all. For those of you who have decided not to stand, then I ask you to take the time, when the ballots arrive, to vote for those stage managers you want to represent your interests within Equity for the next two years. This is your chance to shape the way stage management concerns are handled within the union. Your vote counts!

One of the issues we have been addressing lately is the Buy Out system. No matter whether we love them or hate them, for now they are a reality. We hope by now you have all received an email a copy detailing the Buy-Out Guidelines, which the committee has been working hard to put together. They are intended to assist you in understanding what makes a good / bad buy-out, and what is the best possible deal. If you are having difficulty in deciding whether a contract is a ‘good deal’, please

contact Equity who will be able to give you help and advice. Contact details are given in the Equity Diary, and Online. Alternatively, you can call the Live Performance Help Desk on 020 7670 0237.

We are still working on Work Placement Guidelines and hope to have them out within the next couple of months and we are still tackling the subject of low pay / unpaid work.

Equity is starting to take an in-depth look at this issue, and we will keep you updated as we know more.

Equity now has a new website. Within this new website, the committee has been given its own space, and we intend to make a Stage Management one stop shop. Once we have sorted our pages, you will be able to find all the up-to-date information you need.

This will include current agreements, guidelines, newsletters, tax information, etc. As this site is for you to use as a resource, please tell us if there are things you wish to see posted, and we will do what we can.

Stage Manager’s Blog Member Jess Gow has emailed to say her new blog is a hit and wondered if fellow members might like to have a look and give some feedback?

These are links to two of the postings receiving most attention, but there are others... http://justagirlinthedark.blogspot.com/2011/05/hopes-dreams-and-men-whowear.html http://justagirlinthedark.blogspot.com/2011/05/party-pooper.html

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SMA 60 SEC INTERVIEW: Guest Editor Sarah Cowan IN STAGE MANAGEMENT SINCE: 2004 TRAINING: LIPA (Liverpool Institute of Performing Arts) FIRST JOB AND BRIEF CV: Lighting at Cream Nightclub, St Helen’s Theatre Royal and the Unity Theatre. Currently Production Managing at Theatre 503, then on to Stage Management at Hampstead Theatre and Opera Holland Park BEST JOB SO FAR? I love site-specific theatre, so loved dreamthinkspeak, and Goat and Monkey.

However, I had the most fun working with Filter Theatre Company.

MEMBER OF SMA SINCE: 2004 WHAT DO YOU ENJOY ABOUT STAGE MANAGEMENT? Meeting new people, seeing great theatre created, and the somewhat random tasks I often get handed.

WHAT MAKES YOU CROSS ABOUT STAGE MANAGEMENT? Having to take on more than one job at a time, the lack of appreciation, and no SM biogs in the programme (though National Theatre Wales do extend this courtesy).

FAVOURITE MOMENT? Although slightly un-professional, cart-wheeling down the Great Hall at Hampton Court in a moment of solitude.

WHAT DO YOU DO TO RELAX? See my friends, garden, cycle and travel.

HOT TIP OF THE MONTH? Don’t sit on a bee.

WHERE DO YOU SEE YOURSELF IN 10 YEARS TIME? Producing theatre, having Directed, and having won the lottery.

FAMOUS LAST WORDS? During the Second World War, Winston Churchill’s finance minister said Britain should cut arts funding to support the war effort. Churchill’s response: “Then what are we fighting for?”

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June 2011

Royal Shakespeare Company and Little Angel Theatre The Tempest Cast: David Fielder: Prospero Brett Brown: Stephano Ruth Calkin: Trinculo Jonathan Dixon: Alonso Anneika Rose: Miranda Christopher Staines: Ferdinand Jonathan Storey: Ariel

Author: William Shakespeare Director: Peter Glanville Music By: Ben Glasstone Set Designer: Laura McEwen Costume: Laura McEwen Designer: Puppets: Lyndie Wright Producer: Little Angel Theatre and Royal Shakespeare Company

T

he Little Angel Theatre has long been one of my favourite venues. Set in a once derelict temperance hall, it is a magical place which never fails to remind me why I love the art of theatre. So, one sunny Saturday afternoon, I decided to go and see The Tempest. Little Angel’s latest co-production with the Royal Shakespeare Company.

The play is a condensed version of the original script, with songs added in modern English to enable the 7+ year old audience to follow the play without difficulty. The multi-talented cast play a variety of instruments, sing, and have mastered some very beautiful puppetry.

Caliban and Ariel are the main puppet characters, and have been beautifully designed and constructed. Caliban is an ogre-like reptilian creature, whose enormity is highlighted as the performance bursts out in to, and amongst, the audience throughout the piece. Ariel is a delicate small and graceful being swooping around us in response to Prospero’s calls. In addition to this there are seagulls, dresses that transform in to dogs, and serpent-like spirits enchanting the theatre.

The set and lighting design compliment each other extremely well, and allow not only room for the 7 strong cast to move freely, but a useable structure for the piece on which the actors clamber, and a fantastical piece of shadow puppetry is created upstage of it all.

Though in parts, I found myself very aware of the received pronunciation used by the cast, inventive productions like this keep the spirit of theatre truly alive.

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Edited By KIM HART Brahms and Liszt

June 2011

Based in Manchester they have a real shop where you can taste and purchase as well as the online sales: The AlcoholFree Shop, 23/24 Failsworth Industrial Estate, Greenhalgh Street, off Morton Street, Failsworth, Manchester, M35 0BN. Beer Cans: Opening a can of beer: Mostly pretty obvious, but a few good pointers available here: www.props.eric-hart.com/how-to/fakinga-beer-can This is also a good website for other tips and ideas written by an experienced US based prop maker.

How do they manage in the Rovers Return - or the Queen Vic for that matter – with the drinking and the pouring of realistic beer? Or what about on a current show like Mike Colouring: Leigh’s Ecstasy with their massive Don’t need to pour out the beer? Try cold intake? tea, cola (flat if necessary) or lemonade Alcohol content is commonly dyed (all also good for ‘brown’ spirits). defined by the following terms: For colouring the favourite choice is • Low alcohol containing less Brewers Caramel (a lot like burnt sugar), than 1.2% alcohol by volume easily available to buy on line, this is one • De-alcoholised containing less o f the cheapest websites: than 0.5% alcohol by volume www.goodlifehomebrew.com/brewers• Alcohol-free containing less than caramel.php 0.05% alcohol by volume Burnt Sugar: • Non-alcoholic containing 0.0% Most recommended supplier is still: alcohol by volume JM Loveridge Limited, 6A Kingsway, Non-Alcoholic v Alcohol Free: Walworth Industrial Estate, Andover, Most so called ‘alcohol free’ beers SP10 5LQ Tel: 01264 367610 Website: actually do have a very low level of www.jmloveridge.com alcohol in them (see above) – though For anyone concerned, their website usually too little to matter unless also has the useful guidance note: Not there is a specific reason you need regarded as a health or environmental none at all. But there are some beers hazard under current legislation. available that really do have none at all and there is this great website Beer Glasses: where you see all the different makes Includes many branded glasses and all sorts of other useful pub and drinking – and indeed buy them: paraphernalia: www.drinkstuff.com www.alcoholfree.co.uk

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June 2011

SMA CENTRAL PAGES 1)

UK Props Network

2)

Latest News Theatre Safety Committee

3)

National Occupational Standards

4)

Music Autocue

5)

Missing in Japan

6)

Lovely Review

1) UK Props Network This is a new Facebook group - well, not that new, a few months old by now with around 200 members and which is keen to recruit more from the SMA membership. It’s a closed group so you have to request to join it. Simply type ‘UK Props Network’ into the search function on Facebook and it’ll take you to it.

Sounds really useful and member Ali Wade is recommending it.

2) Latest News Theatre Safety Committee The TSC has released the first results of the Incident Enquiry it launched in 2009. The purpose of the form, available from the SMA website and other TSC members’ websites, is to enable backstage and Front of House practitioners, anonymously, to report accidents and near misses in the theatre industry. The forms are then evaluated by the ABTT, recognised across the industry as an independent body with a wealth of health & safety expertise, and the results passed to the Theatre Safety Committee for discussion and possible industry-wide recommendations.

‘As expected, and in line with HSE (Health and Safety Executive) findings, the highest cause of incidents is slips and trips, followed by collisions or being hit by an object, with manual handling in third place,’ commented David Adams from the ABTT. A total of 210 forms were submitted, and a number of incidents could thus be logged centrally which would otherwise only be reported internally in

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June 2011

organisations and venues, allowing the TSC to consider the lessons which may be applicable to others working in the industry.

‘Above all, the TSC is not interested in apportioning blame or pointing the finger at a particular organisation or individual,’ emphasised Mark White, the new Chairman of the TSC. ‘This is all about preventing future accidents by recognizing trends or specific ways of working or particular pieces of equipment which give rise to incidents again and again. I appeal to all managements, unions and individuals in the technical theatre industry to report, and encourage reporting, to the Incident Enquiry.’

The Incident Enquiry Form does not replace statutory reporting of accidents or organisational reporting structures and the TSC is aware that there are many reporting requirements already in case of an accident. ‘This is why we have made the form really easy to fill in; it can be done online or printed out and filled in in a few minutes. And unlike any other form it logs near-misses, thus hopefully preventing major accidents by pre-empting their causes in future,’ White pointed out.

Lessons from the first tranche of the Enquiry have, however, been learnt and the new form, due to be launched at the ABTT Theatre Show on 15th June, has been further simplified and results will now be collated on an annual basis to enable still better comparison.

TMA/BECTU Code of Conduct. Slowly, slowly this is penetrating the industry, helped by dissemination predominantly through venue technical staff.

There is still an issue around the training available to ensure that casual staff are all on a minimum level of competence - several initiatives are trying to address this: a half day basic Health & Safety presentation from BECTU; ABTT is working on designing something to fit the bill; and there are others from ATG who often create such training in-house as it’s worth it across such a large group of venues to individual Simon Lovelace who has just started Crewclass, a one day training course giving basic introduction to lighting, sound and stagecraft to more or less absolute beginners.

One interesting question which has coincidentally arisen from more information on ins and outs being collated is whether in times like these when money is extremely tight producers tend to call insufficient numbers of crew at the venue - leading to a variety of health & safety issues as the fit-up then overruns and staff get too tired. Watch out for that one - let’s hope ever more restricted budgets don’t undo all the good work which has been done in terms of achieving better working conditions (where this has been achieved!!).

The TSC is launching its next colourful Health & Safety awareness poster with another gorgeous Hamlet cartoon - the theme is Manual Handling this year

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June 2011

and there should be one enclosed with this mail-out for you. It’s so attractive you simply have to inflict it on the next theatre noticeboard you come across.

We are awaiting final approval by the TSC for a Guidance Note on ‘Stage Managers and Driving’ which we have been working on for several years (well, with breaks, obviously!). Also in the not too distant future there should be some very welcome guidance on fog effects - it appears the US is well ahead on the UK for research and guidance on this subject and it is one which comes up again and again, so it would be very handy to have an authoritative document to refer to.

Do not ask about Tallescopes as wild screaming can pierce your eardrum.

Whilst a working party between HSE and industry organisations discusses a long-term solution, there is now interim guidance which allows Tallescopes to be moved with someone in the basket under certain conditions, provided there is a secondary form of fall arrest in place, i.e. if the person in the basket is, for instance, attached by harness to one of the bars in the grid.

Finally, the CDM (Construction, Design and Management) Regulations. It was reported at the last TSC meeting that Gavin Bye from the HSE had said that although the Regulations did apply to the construction and dismantling of temporary structures in the entertainment industry, the HSE had made a policy decision not to enforce the Regulations in the entertainment industry, instead the Health and Safety at Work Act would apply.

3) National Occupational Standards I said I would let you know… well, the stage management NOS as well as whole raft of other ones covering technical theatre are now live and can be found at: http://www.ccskills.org.uk/Standards/CurrentStandards/tabid/837/Default.aspx Bring out the champagne, life will never be the same again.

4) Music Autocue I saw something at PLASA Focus which I found rather interesting and haven’t seen before - a music autocue. Ok, so we all know the things that presenters read off, and somewhere out there there’s a person operating that for them and making sure they have the right text at the right time in front of them.

This guy, a muso, was looking for something similar for music and after searching high and low came to the conclusion nobody was doing it and so he would do it himself. What he’s come up with, in conjunction with Star Cases who manufacturer flightcases of all sizes and shapes - is a music autocue,

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June 2011

called Stageprompter which can be hidden in full view anywhere on stage with a band - from the audience it looks just like another black wedge speaker, for instance.

The beauty of this is that it requires no software, no computer and no external operator. The band simply plug in a USB stick and one person can operate the Stageprompter with a footswitch. Simple, it seemed to me, and effective.

See www.stageprompter.co.uk

5) Missing in Japan I am sure several members will have worked with Japanese over here or maybe have been lucky enough to visit Japan with a show.

Last year a Japanese stage manager called shehei Muto visited London and I am grateful to the friends and members who helped me show him backstage.

He was especially excited to go over the huge stage at Drury Lane when Oliver was playing.

Since the earthquake and tsunami there has been no contact from Shehei and his friends fear the worst. He was 28 and from Tagajo but worked in a theatre in Senai City which appears to have been destroyed.

6) A Lovely Review In the US, I have noticed, not only do stage managers routinely get mentioned when the line-up of a new show is announced (x Theater will be staging X play in their new season, directed by: designed by: stage manager:…), but they also feature rather more frequently in reviews and generate more column inches of press coverage for themselves - interviews with stage managers, for instance.

Here’s part of a review of a show in a town called Olympia: ‘It's often hard to tell good stage management from great, and it's likewise difficult to tell when "bad stage management" is actually the result of poor direction or design. For that reason, I seldom mention stage managers in my reviews. It's not remotely fair, of course, but that's the drag of being theatre's least understood and most underappreciated professional. I can tell you, however, that SM Kate Arvin deserves special recognition for conducting an impeccable show. This show may not have the explosive razzle-dazzle of boom or The Last Schwartz, but its subtle cues are timed to the heartbeat. Watch those multiple lamps; they're the lights of a childhood memory.’

From: Daddy issues, Harlequin stages an unexpected crowd pleaser

By Christian Carvajal on May 11, 2011 for Weekly Volcano Come on, UK reviewers, you can do this, too!

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June 2011

Beware the Internet

By David Evans

M

ost Stage Managers when presented with a props list will have accessed the internet within 24 hours of receiving it. Ebay is likely to be the first port of call, as it is a treasure trove of potential props and a very good indicator of price. Following that many happy hours can be spent bouncing around the internet visiting an assortment of specialist suppliers, altruistic enthusiasts and inevitably Amazon.

It can seem that the internet is a repository of all information, and that with a little effort anything can be tracked down on it. Sadly, we all know that is not true.

Fantastic as the internet is, there are invariably things that cannot be found, however hard you search.

Incomprehensibly large though it is, the internet is limited, there are boundaries, and subjects that it does not cover. To find out why information is missing on the internet we must first ask why there is information on the internet in the first place. Much of it is there because someone can make money out of it, after that it is there because of academic interest, specialist interest and archival interest.

This covers a lot, but if you are looking for something that does not offer someone a money making opportunity, or that hasn’t piqued the interest of an academic, or a special interest group then it is unlikely that you will be able to track it down.

In 1995 I Production-Managed a season of plays at the Riverside Studios for Moving Theatre Company. As a producing company we made six shows and hosted six international companies. In addition, we ran a cinema season, assorted musical events, and an art exhibition over a couple of months. We attracted a lot of press, though not audience, yet I can find no mention of this on the internet.

This illustrates the second problem with the internet. It has created a new historical horizon. In our industry it is now commonplace for cast lists, venue plans, tour schedules etc. to be uploaded to the internet; similarly other industries routinely upload their information. But this did not occur so regularly before 2000 and certainly not before 1995 when the internet was commercialised, and made available to all. The result of this is that a historical horizon has been created whereby anything created post the rise of the internet can be accessed with ease and anything created before can only be found if a special interest group have chosen to put it there.

Any act of recording involves editing, as choices have to be made about what to include, and what to leave out, and there is no doubt that the internet has made many things almost instantly available that hitherto would have involved days of

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research in a library. Extremes are being ignored and with them knowledge is being lost.

At the end of the 19th century sea dramas were commonplace in the British theatres, yet today nobody knows how to stage one, we have lost that knowledge because it was not recorded.

There is a danger that the internet will cause a homogenisation of information, and we will lose the arcane, the unusual, and the extraordinary, much of which we celebrate in theatre.

The internet is but one of the many tools in a Stage Manager’s box. It is a remarkably powerful one but it does not offer all the answers. I have worked on too many shows where we have entered the production week with gaping holes in the props list because potential internet suppliers have fallen through.

The internet is no substitute for all the usual practices of going to markets, calling suppliers, rummaging through prop stores, and using industry specific tools like the SMA Paper Props CD (available on the internet for only £7.50).

The internet is not a substitute for getting your hands dirty, tempting though it may be.

Selling yourself outside of Stage Management

T

here may come a time when you will want to leave the wonderful, colourful world of Stage Management behind. Some move quicker than others, only completing one or two jobs before they jump ship. Of the 26 people that started my course, only 13 completed, and of the Stage Managers amongst them, 3 left the profession after only one or two jobs. One, interestingly, and much to my surprise, went on to teach a Stage Management course, whilst the other two chose completely different careers; Office Manager, so he could stay at home, and have his weekends, and Nurse, so she could help people.

The Office Manager had taken a job where it was only him and the actors on tour, therefore leaving him responsible for lighting, sound, CSM, DSM and ASM work. Confidence is high on graduation, and he took it, as the ‘fear to get work’ set in, thinking there may not be anything for a while. (It soon became clear why teams of people work backstage, rather than solo SM’s). The Nurse had experienced ASM work, and having worked on university shows on which she was the Stage Manager just a few months before, it felt like quite a drop. It is also such a different job to the role of Stage Manager, and one that was not for her.

Whatever the case for leaving, and however long you have worked in this profession, when leaving, it is good to be able to communicate the transferable

Cueline

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skills you have gained. More people would probably stay on in these roles longer if there were more non-freelance Stage Management jobs available, but sadly they are hard to find. Those that have them do not choose to leave them easily, and who can blame them! Therefore, building a good CV which accurately relays that information to future employers is very useful indeed. In this industry, it is rare to fill in application forms, but when you do need to it is always a struggle to fill in a A4 page of why you should get the job!

I had more of a head start than most in this, as when I was studying, my parttime job was working in an agency called DBM. They were agents for big corporations who were making their staff redundant. My job was to remodel the CVs of those employees, so that consultants could then match them to a job. After three years there, I’d mastered the art! I now often find myself remodelling my friends’ CVs! (Should have kept that one to myself).

Although it is obvious to us what our role entails, it is not always clear to those outside the industry. It is important to be able to identify some of our key responsibilities; managing teams, managing budgets, scheduling (diary management), tour organisation, research etc. The list goes on. Not only the ability to identify them, but the ability to give at least one example of when you have done this. Without showing how you have done something, the skill is hard to recognise.

An example of this is when considering one job on your CV, for example a festival will demonstrate the scale of projects you can organise, your ability to manage crowds, to ensure performance times are adhered to. It will also be a nudge for big events employers. It goes without saying that each CV should be tailored to the job and person specifications, but having the majority of the work done before you see them helps an awful lot.

In addition, it would seem that any acknowledgement of administrative and technical work helps, as it is not always clear to employers that we are capable of using computers or design software. One would neglect to add this in to one’s CV assuming it was obvious. Apparently not. Include the ability to read CAD drawings, and use the software if, of course, you can. There is also researching and sourcing props, which requires an understanding of design interpretation, attention to detail, the ability to identify time periods correctly and of course the ability to find who has what you want. This is always completed within a ‘tight deadline’, and whilst ‘maintaining high standards’.

I could go on and on, but I shan’t bore you too much! Suffice it to say that everything we do as Stage Managers is transferable to so many different careers. Our main problem in transferring can sometimes be as simple as the typed information representing us.

Cueline

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June 2011

Company Stage Manager to Production Manager

O

ne of the things that made me hesitant about becoming a Production Manager was the lack of interaction with the company and crew. I must admit it is one of my favourite parts of the job, and my previous fringe based experiences of Production Management had involved such small groups, it was hard not to know everyone, as you could end up being there every day of the run!

With a lot of the work being done from home, it seemed to me that Production Management could be quite a lonely job. The research is a very solitary task, along with site visits, or sourcing trips can often be done alone. Despite my perception, I am very pleased to say I have never talked to so many people, so often!

Meeting with the Director and Designer long before the rehearsals began, we sat and discussed their ideas for the production, looking at the script, and their interpretations of it. At this point, there are no models, only images, ideas, and some preliminary drawings to look through. The budget had already been finalised, so we were meeting to look at how achievable their ideas were within this. I was there as ‘the voice of reason’. Through our conversations, the design got closer to being finalised, and there was one more meeting to follow in order to lock down all aspects of the design. From this, a white card model was created, followed by a finalised model box. Once all the designs were in, it was off to find the tools to create the design.

So, armed with the design and budget, it was time to source the materials necessary, at the price we could afford. It involved a lot of research! For this production, the dream was a slate floor, though this was something I knew straight away would be difficult to source cheaply, and is very time consuming to build within the very limited technical rehearsal time we had been allocated. It was Homebase to the rescue! Of course, true to form, the flooring chosen was being discontinued, and so it required a nationwide Homebase search to locate it! One of the many random searches I went on.

A gauze was also needed, and it needed to be pulled taut across the stage.

They can be expensive when custom made, and this aspect was a lucky find within the store room of a company who had been asked to make one many years before for the company I was working with. The other elements were things that would need to be built, or gathered in the traditional style of begging and borrowing!

Cueline

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June 2011

One of the most valuable resources to have as a Production Manager is a good set builder. Getting the right person makes all the difference, and if they have the experience, and you communicate properly, they will be able to give you good advice on all aspects of their build. My set builder for this project was a great addition to the team, and was amenable to change. A great asset to his character, and a credit to the production. I have colleagues who have ended up with somewhat lacking set builders, and it has made their job very stressful indeed, and some who have not had one at all. Without carpentry experience, this can be tricky.

As the process continued, I was looking at the sound and lighting needs for the show, and how we would achieve the requirements within the budget, as the theatre did not have the necessary stock to create the designs needed. I’m aware that once you have lots of experience in this role, you will also have great contacts. As long as you have nurtured these contacts, you will finally find yourself in a position to ask favours, and this was something I took in to account straight away, though it is something a Stage Manager always needs to think of.

The way you communicate with different companies puts you in very good stead for the future! I was able to negotiate deals with various companies, and enable the Sound and Lighting Designers to have all the tools they needed.

As the production drew nearer, there was the inevitable panic about whether we had gathered together every element of the Designer’s and director’s needs in time for the tech week. Though I must say, on this particular show, the team I was working with were a great group of people, it was a joy, and any stress I had was that I wanted it to be absolutely perfect for them all.

As a Production Manager, you are responsible for any crew needs, scenic painter is needed, how many hours of desk operation you every aspect you can think of needs to be covered. A fact I’m sure aware of, but it’s still surprising at the minute detail you need to go in everything within the timescales.

whether a will need, we are all to achieve

Covering all these bases meant lots of phone calls with all members of the team, with the exception of the actors, and I found it a really involving role. Right from conception, I was onboard, and I enjoyed the involvement immensely. By the time we got to rehearsals, I felt I knew the team very well indeed. It is very similar to Stage Managing in a lot of ways, and so is not that big a leap from one to the other. It requires a lot of self-motivation, but then so does Stage Management. The involvement before rehearsal was a real plus to me, and it is definitely something I will do again and again.

Cueline

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June 2011

PLASA FOCUS 2011 at THE ROYAL ARMOURIES, LEEDS

by Cath Booth

S

o it’s all over for another year, but once again Barbara and I had a busy, productive and enjoyable time at PLASA Focus at The Royal Armouries in Leeds on 19th and 20th April. Probably the biggest theatre and entertainment trade show outside of London, it’s also one of the major opportunities the SMA gets to visit members who live and work outside the capital.

Over the two days Barbara and I spoke to members, students interested in a stage management career, members of other backstage professional bodies, industry professionals and even managed to fit in seeing Northern Broadsides’ Hamlet at The West Yorkshire Playhouse!

Having the two of us present means that there is always someone on the SMA stand for delegates and members to talk to. Barbara was able to pre-arrange visits to Opera North and Northern Ballet Theatre to talk with the Stage Management teams there and see Northern Ballet’s brand spanking new building. And, as usual, she was involved with organising a seminar under the auspices of the Production Manager’s Forum. Chaired by Ken Bennett-Hunter and with the involvement of Dennis Charles (freelance PM), Tomas Wright (PM Birmingham Rep) and Julian Smith (Rocket Scenery, Nottingham) a lively and interesting discussion was held on Scenery Construction: What is the future?

I too got an opportunity to go to a seminar and I chose to attend the one run by the RSC and Stage Electrics on the rebuilding of the Royal Shakespeare Theatre in Stratford-upon-Avon. A detailed and quite technical presentation brought home just how complex the whole process had been. What was really encouraging was that stage management had been involved in the aspects of the build which were particular to them. The new prompt desks were designed after a consultation process that involved SMs using mock up desks to indicate best layout of buttons and what those buttons should do; the result is an ergonomic prompt desk that even takes into account the finger spread of the average hand!

Coupled with this, ergonomically designed tables and comfortable, adjustable chairs have been put into the new control room to give SMs the best possible view without giving them neck or backache. The other innovation I thought was particularly good for SM and backstage staff were the show relay points which not only had a traditional audio show relay, but that also had built into them an LCD visual monitor so there’s no excuse for anyone missing a cue now!

As it’s based in Leeds PLASA Focus is always a great opportunity for me as I’m based in Chesterfield to catch up with friends and colleagues and to see what the innovations are. But the best thing is actually meeting members and the stage managers of the future. Barbara and I will be there next year. We hope you’ll come and see us.

Cueline

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June 2011

Things to ask before you start a job There are companies out there who have the notion Stage Manager = able to do everything! This can mean, as mentioned in the editorial, that you are the ASM, DSM and SM. But how to find out what will be expected of you before you start a job. If you have been offered a job as a Company / Stage Manager, or a sole Stage Manager, and intend to take the job, then the questions you should ask are….

‘Who’s in the team?’

You will then know whether you have a SM team, or a PM, whether you are responsible for operating / designing lighting and sound, and if there is a set / costume design for the show, enabling you to gauge how much is expected from you. It can be the case Stage Management will operate lighting and sound, but could also be asked to rig lights, or mix sound. This can put you under unnecessary pressure. In-house teams will not always help by pre-rigging, or programme. (Team names can also help to avoid those bad eggs!)

‘Can I have a copy of the script, and design pictures?’

Read the play before rehearsals to note scripted props and, if you have images, gauge how realistic the design is. This will also help assessing the period in which the play is set, and where you might source things from.

‘What is the set, costume and props budget?’

Even when not responsible for the set and costume, these figures will tell you your props budget, and whether it may be dipped in to. That is, of course, you’ve been given a props budget at all! Lack of money is usually what takes the fun from propping!

‘Where are we rehearsing; does it have internet and printing facilities?’

Even with internet capabilities, you may still have work to do in the evenings, but your hours will be reduced. This is something not often considered, so be sure to think about it. A lot of props are now sourced online, and unique shops can be easily sourced.

Printing on site is very useful indeed, as it prevents holding up rehearsals, particularly when you are working on new writing, with regular script changes.

‘How long is the rehearsal process?’

I don’t think I need to explain this one!

‘What is my salary’ Perhaps the most important, and not always asked as in-depth as it should be. It is good to know if you are in a buy-out, if holidays are exempt (although it is illegal to do so), and whether you earn overtime. If the salary seems low for the duties you are expected to take on, challenge it. I have asked for a salary increase on a number of jobs in which it has just been me as SM, and have invariable got it, so if you think it should be more, ASK!

Cueline

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June 2011

ANY COLOUR YOU LIKE AS LONG AS IT'S BLACK The time has come to re-paint our stage. We will be doing it in the same way we have done it for years; 1 part black paint to 1 part PVA glue. This gives us a very nice finish, but if it gets wet (don't we all just love Panto!) it can turn sticky and need a repaint soon after.

I feel it is time to find out if there is a better/alternate way to get a nice finish on a black stage surface. If you are Resident or on Tour and you fancy sending me an email as to what your current theatres do I will collate and let every one know the top 5 in a later newsletter.

Email me on steven@artscentre.je Looking forward to your replies Steven Edwards -----------------------------------------------------------------------------------Hello, I just wanted to say how fantastic the Blood 'n' Guns workshop with R-C Annie was. Ruth and Rachel were excellent and it was great to handle and take shots with a range of blank firing hand guns, and discuss current gun law and safety measures together. The afternoon was spent making blood packs, which was both very messy (a complete blood bath really!) and useful for picking up new ideas and tips. At the end we put together (very dubiously acted) scenes involving both guns and blood, and recapped everything we'd learned. A very practical, informative, fun and very messy day :-) Fran Redvers-Jones -------------------------------------------------------------------------------------I was very interested to read, in Cueline, the account of your visit to Blythe House (well known to me as research venue!!) and viewing of the prompt scripts. Some years ago, when I was Archivist at the Palace Theatre, I also did quite an amount of work for RUG on the history of the Adelphi Theatre which they had just acquired an interest in. Someone who had acquired a collection of 28 bound typescripts of plays presented at the Adelphi & Vaudeville in the late 19th century approached me and offered them for sale, at the time I could not persuade RUG to purchase them. Later I bought them myself to prevent them going to America, so when I was coming to New Zealand it seemed to me that, morally, I should leave them in London and the V&A bought them. Some of these scripts are prompt copies (I attach a list - they include a script for Secret Service which William Terriss was appearing in when he was murdered in 1896).

Cueline

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June 2011

Before we left England I donated to the V&A's theatre collection about 12 archive boxes of my surviving papers from the shows I had Company Managed between 1963 and 1990 on tour and in the West End [except those for three shows I did for Cameron Mackintosh (in his youth!!) - these are now in the Cameron Mackintosh Archive]. These papers include correspondence, salary lists, some copies of show reports, etc., etc.. However, I kept all my programmes, flyers and posters, which I am in the process of sorting into proper order, it is my intention that the whole lot will eventually join the papers already with the V&A, but I am about to send them some duplicate material I have found that I have - amounting to over 100 programmes and flyers and 20 posters these will help to flesh out the papers they already have.

I am now sorting out material (programmes, press cuttings etc.) from my earlier career as an actor and ASM/SM in weekly rep. and my brief career as an actor before being lumbered with company management!!

Graeme Cruickshank List of scripts referred to: Typescripts of late 19th C Plays, ADELPHI and VAUDEVILLE THEATRES, LONDON Some years ago I acquired twenty-eight bound typescripts of plays produced at the Adelphi and Vaudeville Theatres between 1887 and 1901, during the proprietorship and/or management of A.& S. Gatti.

These scripts are now in the possession of the V&A Theatre Collections at Blythe Road.

The scripts originally came from the Gattis’ office and some are prompt scripts. A few bear the name of William Sidney, Stage Manager at the Adelphi during part of this period.

ADELPHI THEATRE 1887 The Bells of Haslemere, Henry Pettitt and Sydney Grundy 1888 The Union Jack, Henry Pettitt and Sydney Grundy 1889 London Day by Day, George R. Sims and Henry Pettitt 1890 The English Rose, George R. Sims and Robert Buchanan 1891 The Trumpet Call, George R. Sims and Robert Buchanan 1892 The Lights of Home, George R. Sims and Robert Buchanan

Cueline

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The Lost Paradise, Henry C, de Mille (founded on the German of Ludwig Fulda) 1894 The White Rose, George R. Sims and Robert Buchanan (on Scott’s Woodstock) Shall We Forgive Her?, Frank Harvey The Fatal Card, Haddon Chambers and R.C. Stephenson 1895 The Girl I Left Behind Me, David Belasco and Frank Fyles One of the Best, Seymour Hicks and George Edwardes 1896 Black Eyed Susan or All in the Downs (revival), Douglas Jerrold Boys Together, Haddon Chambers and Comyns Carr All That Glitters is not Gold (revival), Thomas and J. Madison Morton 1897 Secret Service, William Gillette In the Days of the Duke, Haddon Chambers and Comyns Carr 1898 Charlotte Corday, Kyrle Bellow The Heart of Maryland, David Belasco The Gipsy Earl, George R. Sims A Woman’s Love, H. Woodville (curtain raiser) The Silver Falls, George R. Sims and Henry Pettitt Dick Whittington, Horace Lennard (music – Oscar Barrett) VAUDEVILLE THEATRE 1897 Never Again, adapted from the French (Le Truc du Seraphim, Maurice Devallieres and Antony Mars) 1898 On and Off, adapted from the French (Le Controleur des Wagons-lits, Alexandre Bisson) 1901 Sweet and Twenty, Basil Hood (two differing copies) Bluebell in Fairyland, Seymour Hicks and Walter Slaughter (music [not included]), lyrics - Audrey Hopwood I can send a complete, hard copy, descriptive catalogue of these scripts to anyone interested.

Cueline

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SMA NOTICEBOARD NEW PROFESSIONAL MEMBERS Sophie Baker, Fiona Kennedy, Alex Purser, Phillip Richardson Ashley Illman, Hayley Shingles, Fiona McCulloch, Megan Kearney Becky Potts, Katherine Tippins, Alison Willcox GRADUATE MEMBERS Checca Ponsonby, Claire Louise Baldwin, Katharina Houy Emma Livingstone, Greg Sharman REJOINS Joseph Denby, Hugh McInally, Amy Quinn, Caroline Weavis

BLUEFORM REMINDERS MEMBER S WITH EMAIL Any memb er w email addr ho has an e Freelist, w ss on the ill become an Email Mem b e r.

If you are n o t o n the Freelist bu t have an e ma address an d would lik il e to become an Email Mem ber PLEASE L ET US KN OW!

Deadline for receiving Blueforms for the Freelist is end of day on 7th of each month.

Blueforms can be downloaded or you can use the online Blueform, both via our website.

Also, please remember that in order to keep the Freelist as current as possible, it is no longer possible to request inclusion for 2 months.

However, if your details are the same, you can send us a quick email to request inclusion for the next month instead of filling in another Blueform.

Cueline June 2011 Volume 26 Number 3 Stage Management Association 89 Borough High Street London SE1 1NL T 020 7403 7999 W www.stagemanagementassociation.co.uk E admin@stagemanagementassociation.co.uk Company limited by guarantee (England & Wales) Reg No 3819176