Most complex Stage Management/blocking

[greenifyme2]

Posted: 6/21/18 at 11:59pm

After seeing Phantom tonight we were discussing how (seemingly) much more difficult it must be to join a show with a large cast as a new cast member simply due to blocking and so many costume changes alone. And with a long-time running show like Phantom, is there less turnover and how does that affect rehearsals? We were also wondering - in particular with larger casts - how do new cast members learn all of this? With something like DEH there are no more than like 8 people on stage at a time and if someone would happen to stand somewhere a little different it doesn't seem a huge deal. In Phantom it seemed if they weren't in the right place at the right time they could all be easily running into each other. Are there 30 people available that do run-throughs in a studio somewhere? Seems like that would be time consuming and expensive.

I get that these are experienced professionals, but they all have to start somewhere on a new show, right?!

Which leads to my next question - what do you think are the most complex shows to stage manage/learn?

 

 

[Tag]

Posted: 6/22/18 at 12:28am

Cast members that are new to an existing show are rehearsed in a studio by stage management, a resident director (if there is one), the dance captain and someone from the music staff.  They are usually rehearsed with other incoming cast and/or understudies and swings from the current cast.  On stage they get only one "put-in" rehearsal, which is a run-through of all their parts with technical elements (usually) and their costumes - with the current cast (who are not in costume).  In terms of not running into people, performers have to hit their marks, sometimes indicated by spike marks on the floor, or by following numbers that are on the front edge of the stage.  (that would be just as important in something like Dear Evan Hansen, mostly for lighting considerations) Incoming performers usually have the chance to watch the show from the audience and take notes as well.  They'll also get a chance to track the performer they are replacing - by following them backstage during a performance, to see what they do offstage (ie. where to change, where to stand to not get run over by a set, etc.). Most likely they will also be given a written up version of the track which they can study.

In terms of what show is the most complex to stage manage, that somewhat depends on what stage management position you are talking about.  A SM calling the show, is different then the ASM supervising a busy backstage area.  ie. Come From Away has a billion lighting cues, Lion King has extensive backstage traffic & choreography, etc.  Spiderman was probably one of the more complex shows in recent memory.

Updated On: 6/22/18 at 12:28 AM

[greenifyme2]

Posted: 6/22/18 at 12:38am

So fascinating, thank you!

This all sounds so difficult, I don't know how they do it! I'd be a huge bundle of nerves if I ever had to get on a stage like that. And that's a great point about lighting queues; Lighting just seems to happen so seamlessly, and I forget that it's not magic, it's hard work. Major props to these performers and the crew.

[rodrigo_ca]

Posted: 6/22/18 at 4:02am

What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer.

[Loopin’theloop]

Posted: 6/22/18 at 5:47am

It would be pretty uncommon for someone to flunk their put in. They wouldn’t have generally got that far if they couldn’t do it but of course there are exceptions to every rule and at some point in history there must’ve been somebody who just had a terrible day and went to pieces. In this event, the management team would consider their options, like in any situation - likely the person had a rough rehearsal and those mistakes will make for a smooth opening but if they really ‘flunked’ as it they just couldn’t cope with the pressure (as I say it would be hard to get that far and only then fall to bits) then management would do what they think best for the show

[trpguyy]

Posted: 6/22/18 at 8:36am

rodrigo_ca said: "What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer."

If that were to happen, the performer would get to wage a Twitter war claiming unfair treatment and get the show closed. 

Seriously though, it rarely gets to that point. The SM team would know if an incoming cast member is ready or not for their put-in, and would reschedule the put-in if need be. IF someone were to crash and burn in their put-in, they would continue studio rehearsals until they're sufficiently prepared to go into the show, but would almost never have another put-in.

Updated On: 6/22/18 at 08:36 AM

[Tag]

Posted: 6/22/18 at 11:37am

It's hard to compare a put-in to a test that someone can flunk.  By they time they hit the stage, they will have run-through the show in the rehearsal hall.  The put-ins add the technical elements (someones you don't even get that) and costumes.  Before they actually start the put-in, the performers would generally be shown their spacing, and be aware of the stage.  Also having shadowed the original performers backstage, there isn't an element of surprise as to what to do.  Also keep in mind, that the put-in is specifically for them, so stage management and the dressers are taking extra care and supervision of that specific performer (quite literally ushering them around offstage).

[JSquared2]

Posted: 6/22/18 at 2:14pm

rodrigo_ca said: "What would happen if a performer absolutely flunks their put-in? As in really, really bad, stumbling on other people, on the stage, on moving pieces. Imagine everything went wrong for this performer."

If that ever happened, then Oak would complain bitterly on social media.  Then his friends would start vicious smear campaigns against the producers and the production and turn it into a race riot.  Then the show would close. Then Oak would get cast in a TV series.

 

[Lot666]

Posted: 6/22/18 at 2:28pm

Phantom certainly has a large cast onstage during certain scenes (e.g., Hannibal, Masquerade, Don Juan Triumphant) and I suppose they must require much rehearsal and attention to ensure that all those people are where they're supposed to be at any given moment.

I thought Groundhog Day was a staging/blocking marvel, with some scenes (e.g., Hope) requiring split-second timing to pull them off properly.

[greenifyme2]

Posted: 6/22/18 at 3:08pm

Lot666 said: "Phantom certainly has a large cast onstage during certain scenes (e.g., Hannibal, Masquerade, Don Juan Triumphant)and I suppose they must require much rehearsal and attention to ensure that all those people are where they're supposed to be at any given moment.

I thought Groundhog Daywas a staging/blocking marvel, with some scenes (e.g., Hope) requiring split-second timing to pull them off properly."

How could I forget about GHD! That was most certainly the most complex show I’ve watched and felt wow, this cast is really getting a workout. Most of the time we don’t see the running around but they were running around on stage and off. I think why I had glossed over it now is because while there were swings and understudies, it didn’t last long enough for new cast to come in (still a shame) and while this has no ground, I was wondering in particular if it’s any harder for new members joining long-running shows. 

And Hope was indeed incredible. Ugh I miss that show.

Updated On: 6/22/18 at 03:08 PM

[Skip23]

Posted: 6/22/18 at 5:38pm

Spongebob has to be difficult, too.

[RippedMan]

Posted: 6/23/18 at 12:10am

For the most part, I don't think any show is "difficult" to call. They're stage managers, and that's what they do. It just depends on what you'd consider difficult. They get into the routine of calling a sound cue, a light cue, a set move, etc. The bigger musicals are actually easier to call because the big musical numbers are basically all one call. My best friend is a PSM and Stage Manger and was telling me that the big musicals are well oiled machines and once you call the cue to start the number it all just kind of rolls out from there. Not sure if that's true. 

Also, you have to remember, as far as put-ins go, most of the other actors on stage have been doing the show for quite sometime and they will help guide the new cast member. Push them into place, guide them backstage, etc. They're all working together to make sure the show is as good as possible. 

[Tag]

Posted: 6/23/18 at 1:11am

The bigger musicals are actually easier to call because the big musical numbers are basically all one call. My best friend is a PSM and Stage Manger and was telling me that the big musicals are well oiled machines and once you call the cue to start the number it all just kind of rolls out from there. Not sure if that's true. 

That's completely not true.  Unless the show is timecoded, which means a music track is linked with the lighting cues.  But you really only find that in theme parks and cruise ship shows.

[Eliza2]

Posted: 6/23/18 at 10:52am

There was a Ham4Ham where they did Ten Duel Commandments as the PSM called the cues. I thought it was very interesting at the time and just looked up the link if you want to watch

https://www.youtube.com/watch?v=XqE-mGI5OaM

[PatrickDC]

Posted: 6/23/18 at 12:14pm

I have nothing to add, but this thread is one of the key reasons I appreciate this board! I love hearing for all of you in the business who know how this industry works. I love being an audience member and enjoying the show in the moment, but then later I start thinking about how this was done or how they did that. Thanks to all who asks the questions and those who answer them! 

[leighmiserables]

Posted: 6/23/18 at 1:25pm

I'd imagine Great Comet had to be one of the hardest shows in recent memory to stage manage/get put in as a replacement. Though I mostly marvel at the swings in that show—how they managed to remember every track they covered is beyond me.