Technically Speaking

Tuesday was the big tech day for Saturday Night Fever. I got to the theatre at 9:00am and left at 10:30pm. Needless to say, I was exhausted afterwards. For most of the actors, tech is simply the long process where they stand around waiting, then repeat the same section three times before moving on. For the stage manager, it is constant juggling, even during breaks, to keep everything going smoothly.

While tech is virtually the same process at any theatre, there are some minor differences based on working styles. I’ve realized that you don’t fully understand the reasoning behind certain things until they are missing. At some places I’ve worked, the director, lighting designer, sound designer, and stage manager all sit down before full tech and have what’s called a paper tech. The designers and director talk through all the cues in the show, and agree on placement, while the stage manager writes it into the calling script. So when full tech begins, the stage manager already knows where most of the cues are, they just need to be built, practiced, and timing fine-tuned. For BW, we don’t do a paper tech. And I’ve found, not doing one makes the stage manager’s job during tech harder, especially on a musical.

The stage manager ends up doing three things at once during tech. 1. Writing the cues in the book. 2. Practicing calling them. 3. And managing the room. Dissonance occurs when the director is ready to move on, while the SM is still writing things down, trying to find the proper placement. An example would be “take the cue when Tony crosses”. While I have in my blocking the line where Tony crosses, often the actor doesn’t always cross on the exact same word. So it’s finding where on the page is the best place to write, what the specific word is to call the cue, and simple what number the cue is. And doing all that while the actors are standing there waiting for you to tell them what to do.

What I’ve found the hardest part of tech to be is gauging the best place to resume once stopped, especially when music is involved. While I have a logical place I would like to start on the page, trying to communicate that both to the actors and to the band can be challenging. For this show especially, the lyrics in the songs are overly repetitive. While I can give measure numbers to David, the actors would still be lost trying to find how many burn Baby Burn Disco Inferno to sing before the button of the song.

For me as an introvert, tech can be very difficult for me because of the constant interaction. There were times where I was thinking that it’s actually not very good for my health, because I become so tense that my head and even my chest started to ache. Everyone said that tech ran very smoothly, which is good to hear because I don’t have an objective view on it. I felt like I got hit by a train.

I think the key to success is simple remaining calm and patient. With actors asking you millions of questions, the director saying “no, that’s wrong”, and fielding various problems as they come up, it is easy to get overwhelmed. But getting frustrated, self-critical, or upset, would only make things worse. You simply focus on the job, and continue working even if you make mistakes. Because if you dwell on mistakes or overreact, you would end up making even more mistakes. Part of the key to working under pressure is simply keeping your composure, putting aside your feelings, and to keep moving forward.

Setting Up Shop

             

Tech is at times the best and the worst part of putting on a show from a stage management perspective. It’s the moment where things start to pull together, and you get your first glimpse into the final product. It’s also a long and tedious marathon of constant interaction and changes.

           

 Unlike most of the shows I’ve done at BW, where we rehearse in the space, this is the first show where we had a proper load-in to the theatre. On Monday, the day before tech, I was at the theatre from 3-7 helping get the space set up. We laid down the grid dance floor (which was pre-painted), hung the huge 4’ diameter mirror ball, set up props tables, hung and focused the light plot, and much more.

           

 The first challenge was simply getting used to the space. Backstage of Playhouse Square is a labyrinth of halls that can become very disorienting. The dressing rooms are very far away from the Helen Lab, so we posted signs with arrows to make a trail for the actors.

I found my experience working in the shop as an electrician to be very beneficial. I was tasked with assisting in setting up the four spot lights, and I instantly knew what and how to do it. It enabled me to just jump in with one of the crew guys and get everything done, rather than be It was cool to see how being well rounded really does pay off. That was one of the things that drew me to BW initially was that I would have the opportunity to learn about all areas of theatre, not just my specific focus. When we left that night, we were in good shape to begin full tech the next day.

Moving Out

Yesterday was our last rehearsal at BW before we move downtown. And since Saturday Night Fever is the last show I am stage managing at BW, it truly was a last rehearsal. I would be sad, if I weren’t so busy. From this point on, it’s all hands on deck to get this show up and running, while balancing the heavy class work that come with being a student the week before finals. I’m literally sprinting to the end.

With all the different plates spinning, I am surprised at how (relatively) chill I am. The show itself is in great shape, with us doing two full run throughs. Having done summer stock, where it is a blessing to run the show without stopping before opening night, we are already miles ahead. This creates a sense of confidence and ease that this show will be ready to open on Friday.

To get ready for tech, I’ve updated all my tracking, created the deck plot for running the show backstage, and all sorts of other paperwork to make sure everything on my end it set. I've also been checking in with Jeff and Charlotte to make sure they have everything they need to begin loading into the theatre. It is interesting to think back to my first show as stage manager at BW, The Seagull, and how much my process has changed. How time flies when you are having fun...

Take 5

Due to the Music Theatre Senior Showcase in New York City, there has been a bit of a hiatus for Saturday Night Fever. I spent the last five days in New York, where I was stage managing the showcase, and boy was it an experience. 

The biggest change I noticed in this experience was that of working where you do not own the space. All of the theatre companies I’ve worked for (BW, Millbrook, Huron) have their space that you rehearse, build, and perform in. So it was a new experience for me to not be working in that environment. If I needed something, like extension cords, I couldn’t just go grab it myself from the cabinet like I would do at BW. Instead, I had to go and talk to the Gary or Nate, the house crew guys, who would then go get it.

It made it clear how much more of a people person job stage management really is in the professional world, where you really aren’t able to jump in and do things yourself. Just like the actors are the directors tools for shaping the play, people are the stage manager’s tools for getting things accomplished.

Stage managing showcase has also made me start reevaluating my goals for the future. Initially I thought I didn’t want to go to New York, but now I am wondering. I’ve learned that perhaps I do have what it takes to be successful there. I’ve always said that my career goal is simply to work on the highest quality of theatre I can with people I respect. So maybe I should shoot for the moon…

Learning the Show

As a stage manager, you should know everything. For me, the rehearsal process is really about learning the ins and out of the show, and what it will be like to run the show nightly. 

We did a run of Act 1 and I was surprised by two things: 1. I was surprised by how well I already know it. Small run things, like striking the chairs off the table and presetting the bench, I already have memorized. So even after the first run through of the act, I could theoretically run the show without any hitches. Which is a good place to be in. The second thing that surprised me, which is directly related, is how relatively simple the show is. All our rolling pieces, the bed, the ballet bar, the table and chairs, go in and out of the same exit wings (homes essentially). And each piece isn’t used more than twice. In compiling my tracking sheet, I found how easily the show moves from scene to scene. (and it moves fast) Our run time was only 53 minutes, and its sure to tighten up a little bit more once we start running the show in its entirety.

Also what is surprising me the most at this point is how laid back the rehearsal process has been. Most of the musicals I have worked on have been very strenuous, but this one seems to be fluidly going through the motions. Even when possible difficulties arise, like suddenly having major completely changing the day’s rehearsal schedule due to actor conflicts, these incidents seem to easily pass by. We simply make the change and keep chugging forwards. Perhaps it’s a good sign for me, as a stage manager, that I’ve gotten to the point where I can easily problem solve and get things accomplished in an easy going manner, compared to stressing and worrying. 

As I sit through rehearsals, I am also looking ahead and anticipating teching the show. For some songs I’ve already practicing calling cues where I imagine they could be to get used to the rhythm of the show. While tech is often the most challenging aspect of the show for the SM, I am eager to get to that point and learn to call the show. I am also sad already that we only have four performances.