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trying on a metaphor
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@magestanager

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if youâre a stage actor and you donât gesture to the tech crew box and techs in the wings during the applause thenÂ
WHAT ARE YOU DOING????
Directors can get away with anything....
So we had a director rent out our largest space for a couple performances a week for about 3 months.
Then yesterday they did this to one of my co-workers:
Co-worker was on headset in the booth operating the light board on the Stage Managerâs call as they should have (show doesnât have any sound effects so sound op wasnât needed).
Stage Manager is calling cues, everything is going fine. Director decides mid show that they donât like how the cues are being called, even though they were spot on (I know this because I was watching the show in which this incident happened).
Director finds a spare headset off stage, gets on headset and starts calling the cues OVER THE STAGE MANAGER.
My co-worker did the right thing and ignored the director and operated the light board for the rest of the show off of the stage manager.
Show ends, director finds my co-worker and just tears into them. Calling them incompetent, rude, disrespectful.
My co-worker immediately tore into the director telling the director how rude they were being to the stage manager and my co-worker themselves.
Director immediately went to our management and tried to get my co-worker fired.
Co-worker still has their job.
Director will most likely not be welcome back to our space next year. Especially since they did not have a good reputation even before this incident happened.
I was in disbelief when I heard what happened. I am still trying to track the SM and make sure they are doing ok.
I know if I was that stage manager I would have quit on the spot.
*Le Sigh*
I am absolutely speechless and at times disgusted with what directors can get away with.
Iâve seen directorâs insult and harass actors, crew, designers.
Iâve seen directorâs take out their anger and frustration out on others.
Iâve seen directorâs threaten to cut an actor from the show 3 days before tech.
Iâve seen directorâs blame anyone BUT themselves for their faults.
Iâve seen directorâs destroy people in their path to a âgood reputationâ and I can tell you that is sure AS HELL not how you get a good one.
*****Respect is a two way street*****
That moment in a musical when all the songs are mixed to make one giant reprise and you canât decide which part you want to sing.
THIS
Headset hell
When someone talks in your free ear at the same time someone is talking on headset.

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âWhat he meant to say was, âHold, please!ââ
Back when I did Shakespeare: Abridged I was still a little stage manager. This show was crazy. I had a great crew and cast though. Anyways, we were in the middle of a tech rehearsal and the actors are doing their insanity on stage and my Lighting Designer is trying to do his thing. Well he got a little frustrated and started screaming and cursing at everyone from the booth. The theatre goes silent for like 10 seconds. I stick my head out the booth window and in the best flight attendant voice I can manage, say, âWhat he meant to say was, âHold, please!â And that it still one of my favorite theatre moments.Â
Once again, major props to every single technician working the super bowl halftime show. With the scale and short time they have to set up itâs incredibly impressive how structures and organized it is and that they do it so well year after year.
The two sides of tech
have i ever told yâall about the greatest moment of my academic career
i was a freshman in college and i had this history teacher who was ~edgy~ and his hotness level on ratemyprofessor was off the charts and he was the first teacher i ever heard use the word âfuck.â anyway he would do this thing every so often where weâd have a âquizâ and the first two questions were always really easy and the last one was hard - they were all similar questions, and the point was to show what you learn about history and what you donât.Â
so one day heâs like okay kids time for a quiz and the first question was who killed abraham lincoln. the second question was who killed JFK. third question was who killed william mckinley.Â
we all take a few minutes and write down our answers, and then the teacher asks the questions again so we can shout out the answers. everybody answered the first two with really no problem.
now, keep in mind that this class was at 9 a.m. and i was exhausted All The Time during my freshman year of college so i sat in the back in my sweats and never said a word and the teacher definitely had no clue who i was.Â
so you can imagine his surprise when he asked the class who shot william mckinley and without missing a beat i said, âczolgosz,â pronounced correctly and everything.Â
my teacher froze and in a very stern voice asked, âwhat was that? what did someone just say?â
i repeated: czolgosz.
my teacher:Â âwho said that?â
i raised my hand, and my super cool history teacher glared at me. he then asked me how the hell i knew the answer. he said that in the TWENTY YEARS heâd been teaching this stupid class, nobody, not A SINGLE PERSON, had ever known the answer to that question.
i then had to quietly explain to a room full of people that thereâs a musical called assassins and thereâs a song about czolgosz shooting william mckinley at the great pan american exposition in buffaloooooooo (in buffaloooooooo)
@tricksterkhaleesi
when someone walks in my room without knocking and its just like

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I just looked this up and it turned out it was about a production of âcat on a hot tin roofâ, a play which famously features a closeted gay lead character. a member of the audience was catcalling female actresses and shouting homophobic abuse when actor john lacy, who played the character big daddy, paused his performance and called him out. the heckler replied âwhat are you going to do about it?â to which lacy responded by leaping down into the audience and knocking him to the ground.
#its what tennessee williams would have wanted
Casual reminder that no show could be possible without stage managers who get literally nothing
I have a cast of jokers:
Director: Iâve always seen Thomas Mowbray as very cat-like.Â
Actor: You mean Thomas Meow-Bray?Â
Director: Youâre not Hotspur yet.Â
Actor: No, heâs Not-Spur!
*Actor playing Bolingbroke falls down*
Other Actor: Careful, or youâll be ⌠Boling-Broken
Synetic Theaterâs Unforgettable Watery Worlds
In 2013, Arlington-based Synetic Theater took their signature cinematic style to a new level when they flooded the stage with water for a production of The Tempest. The physical theater company, well known for their wordless productions of Shakespeare plays, had previously created a water stage for their 2010 production of King Arthur. Known for their creative use of mixed media, Synetic Theater utilized the water to add an extra layer of magical realism to that production.
The Tempest was to be the 9th installment of  Syneticâs popular Wordless Shakespeare series and Founding Artistic Director Paata Tsikurishvili was inspired to use a water stage by the way in which water is closely tied to the plot. âThe exiled Prospero is sent to an island, surrounded and inundated by water,â Tsikurshvili said. âHis power and magic grows from it, and even the inciting action is created by water when Prospero uses a storm to bring his enemies to him.â Water is a versatile theatrical element, conveying a variety of emotions and feelings. It can be at once dramatic, comical, magical, and lyrical. Additionally, the hypnotic combination of water and physical theater captivated audiencesâ imaginations in a totally new way.
Once Tsikurishvili decided on the watery world his Tempest would be set in, he tapped Syneticâs Resident Stage Manager Marley Giggey and Technical Director Phil Charlwood to figure out the logistics of getting water into a pool onstage. âIt was the strangest combination of terror and excitement I have ever experienced,â Giggey said of her first meeting about working on a water stage. Technical Director Phil Charlwood had worked on King Arthur three years prior, and this time he strove to improve circumstances for the actors. The biggest challenge was keeping the water at a comfortable temperature. By using large heaters, Charlwood was able to keep the water warm during performances.Â
Charlwood also used his innovative design and building techniques to create one of the most compelling elements of the production, a piano fountain that served as an important piece of the set.
Filling the pools and keeping the water clean and safe fell to Giggey. âThe water came from several hoses running from two sinks in the laundry room backstage and in the lobby,â she said. âThe drain was a series of PVC pipes that connected together and went to a hose. We would bring out all the pipes and connect them - going out the loading dock door and leading to a floor drain in the parking garage that could accommodate all that water! Â Before each performance I would do a half drain and fill. âWe would drain about half of the pool and then fill it back up to show levels with hot water. Â On Fridays and Sundays we did a total drain of the pool and a very through scrub and clean. Then we let it dry for at least 12 hours before refilling. Â It was a time consuming process, but keeping the pool safe and clean was key.â
Once the water was on stage, Giggey was faced with more challenges. The stage lights made it difficult for the actors to consistently see the spike marks. This problem was solved with a grid system that allowed the actors to line themselves up with the left and downstage points. The actors movement in the pool created a lot of splashing into the audience. Synetic offered branded ponchos to patrons in this âsplash zoneâ and those seats became the most popular for the production.
Lighting designer Andrew Griffin enjoyed working with water and overcoming the challenge the water gave him in designing a light plot for the show. âThe light would reflect and refract because the water floor was reminiscent of a mirror,â he said. Griffin used several low-angled sidelights to exploit the angles of light that would scrape across the floor, rendering less of a reflected impact on the architecture of the space. This effect made it seem as though the water was dancing along with the characters. âThrough a lot of careful planning, we created some pretty great effects,â said Griffin.
When working with water, there was also the question of mold and mildew - particularly concerning costumes. The costumes were all treated with camp spray to help waterproof them. âCleaning the costumes was very tricky,â Giggey said. Â âThey had to be thoroughly washed so we turned the back room of the theater into a âdry roomâ with fans blowing from all directions and drip buckets to catch all the water. Â The last thing any actor wanted was to put on damp costumes or shoes when they came in the next day.â
Working with water required Syneticâs creative team to master a free-flowing element that is not easy to control consistently. Synetic was able to overcome many obstacles and use the water to their advantage with the help of various theatrical elements, all while taking the necessary steps to protect their performers.
The hours of maintenance required to keep the pool clean and functional and the additional challenges of working with water in a theatrical setting paid off. âIt was a moment that was so immersive and dramatic that it was difficult to believe it was happening live in front of you,â Giggey said. âThe energy in the theater as the actors were jumping, spinning, and splashing was electric!â Overall, the creative team, crew, actors and audiences appreciated and valued this rare experience. The professionalism, ingenuity, and talent of the production crew, actors, and artistic team helped to make The Tempest Syneticâs highest grossing show to date.
I love that I get to work with these folks. I love that this post keeps coming back.
My god
Jfc itâs so funny when I remember that I know most of these people
Hey Directors...
Donât get mad at the Stage Manager for bringing up safety concerns about the set and/or set layout. We arenât âkilling your visionâ all we are literally doing is giving you a reality check for the safety of actors and possibility of what crew can handle between scene changes.

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you know what? iâm thankful for having a director i Hate With A Burning Passion this early in my career. I feel like I knew that I would not always get along with someone and that I would have to power through it, but I feel like if I never experienced it until later on; I would have no idea what to say, do, or how to even act in the situation.
Stage crew is goblincore. Pushing big things around in the dark, wearing all black? Pushing buttons and submerging a theatre in darkness? Pointing bright lights at people because theyâre beautiful and need to be heard? Goblincore.