Anne Nicholson Weber, in the podcast interview I posted a few weeks ago, asked the question: “What exactly does a stage manager do?” Josh, Ray and I kind of looked at each other in that moment, thinking: “Do people really not know how important the stage manager’s job is?”
At the non-equity Jeffs last night (yeah, Jared), I got to thinking (again) about something I think is missing these theatrical award ceremonies – Jeff, Tony, the whole lot of ’em.
How in the WORLD can we structure an award for best stage management?
Because when they do their job right, they are the the glue that holds the whole show together from before first rehearsal until after strike. Our work as designers, performers, and directors is NOTHING without stage managers to understand, interpret, support and execute it in a real-world context. With patrons, house emergencies, prop emergencies, scenic emergiencies, costume emergencies, skipped pages…
Sure, it’s a tricky award to evaluate – there are enough pitfalls in evaluating design (which still can be flashy, brash and loud enough to draw attention to itself), let alone a role that is quieter if not more central to the functioning of theatrical performance. The very definition of good stage management is when it just works, seamlessly, brilliantly, and without leaving any trace of emotional, procedural or intellectual tint on the designs, direction or performances. That is a no-mistake tough job.
You *can* tell when there’s a ninja SM calling a show back there in the booth – usually when a mind-bendingly complex sequence of events is timed so perfectly either very early (first time!) or very late in the run (ready for closing!) that it still leaves you breathless.
I’m talking about you, Ellen, Amanda, Joe, Tim, Kim, Jaime, Alden and so many, many more.
If awarding committees can see beyond the footlights enough to give awards to directors, musical directors, lighting designers, or musical sound designers (the mad science/art of seamless vocal amplification that again, ideally doesn’t draw attention to itself – a fact that led to it not being included in the Tony Awards until last year, 30 years after the beginnings of theatrical sound design), certainly there is some way to evaluate and recognize these foundational artists who through their creative management support the entire team.
So here’s the question: If you had to write the rules, how would you choose to evaluate a stage manager’s performance?
It’s a continuation of the discussion – and actually a great starting point if you feel lost – of aesthetic considerations of sound design that several bloggers have been talking about here and elsewhere over the past few weeks – from collaboration, using the text as a starting point, to having a conversation with your audience through sound. For those who caught my Twitter preview, the mythbusted phenomenon of Metonymy wisely didn’t make the cut, alas, but I’m sure you can tell where we brought it up – as designers one of our aesthetic goals is of course to make you (figuratively) crap your pants.
Also, there’s a little bit of throw down between the Chicago vs. Broadway approaches to theatrical aesthetics in general, so… Blood in the Water!
WBEZ’s Chicago Amplified program has beefed up its presence in the Chicago theater talkback circuit… quietly and diligently recording interesting conversations and performances that would otherwise be lost to the world forever.
One of these recordings actually captured a portfolio dream for a sound designer… a full recording of Remy Bumppo’s original commissioned work Think Tank: American Ethnic, with both performer dialog and sound design mixed in. If your exposure to theater on the radio is primarily through LA Theatre Works – or if you’re outside of Chicago and want to see me put my money where my mouth is as a designer – I hope you can check it out.
If you’re creating great programming in Chicago and don’t have a podcast infrastructure to capture it yourself, I’d also recommend contacting the good people at Chicago Amplified… It’s one of the few places that will lend its excellent web infrastructure and traffic to creative organizations of all stripes.
You can also donate to Chicago Amplified here… And catch WBEZ employee Don Hall (and friends of TFTF Schadenfreude) in this video, doing what they all do best: Crank.
I was thrilled to be asked by The New Colony contributor and blogger Benno Nelson to engage in an online debate that took the temperature of theater blogs in this our internet age. That’s why I totally didn’t join in until a couple minutes ago. What can I say, it’s tech.
At any rate, here’s the discussion so far, and you can join in yourself. You’ll hear from Benno first and then you’ll hear from me.
The internet will be for maybe only a few more years the Wild West, the Manifest Destiny of our age. Not everyone understands what it is or how to use it, but most everyone knows they cannot be left out of it. This applies, of course, to Theater Companies. There have been some attempts to codify, or at least examine the components and goals of websites, and particularly blogs operated by Theater Companies. The consistently excellent Kris Vire has, for example, offered a few ruminations on this topic, but I think it is worth our attention here as well. The justification for including it as a Cliché, I feel it necessary to point out, is that the possession of a “blog” seems to have grown into an unconsidered necessity for theater companies and I want to draw attention to this thoughtlessness and worry about it.
First of all, it is so self-evident that it is almost absurd to point out that the primary activity of Theater Company websites is marketing/advertising: making it easy for a potential audience to get telegraphic information – who, what, where, when, why – about the company and their productions. But what is a Theater Company blog, and what is it for?
Well, it’s actually not very simple. A clichéd response would be that a blog allows a theater company to maintain an online presence. What the hell is that? In the case of The New Colony, for instance, what do they gain by having these columns up once a week? Ideally, I suppose, they get increased traffic by becoming a place people can count on for new content: in the internet, updates are the equivalent of a neon sign. The more updates, the more content, the more people are likely to check your site and keep checking it. Does this sell tickets? I really don’t know, but when I saw FRAT it was full almost to capacity.
The Steppenwolf also relies on content generation, but they are much more streamlined. That is, their posts are all about the Steppenwolf, their shows, their season, their collaborators. It is essentially like an ever-expanding playbill. Interestingly though, for a company like Steppenwolf or The Neo-Futurists where much of the draw of the company is in the company members, the blog offers a great way to deepen audiences’ familiarity with and knowledge of these members. By including a post by Joe Dempsey on joining the cast of Art, for instance, we get a better idea of who he is. Perhaps we’ll want to see him more, and return to the theater when he returns.
What is a bad theater company blog? One that is hard to read or navigate (with regard to design), or contains meaningless information, or is updated infrequently. The insistence on web 2.0 interaction is a little tiresome for me, because I don’t believe that the companies really care what I think; these seem to me rather more an extension of the farce of post-performance talk-backs, but I hope I’m wrong.
The interesting thing about the internet is that it is in some ways a great equalizer. It is essentially as easy for a tiny company without even a reliable performance space to operate an excellent website as it is for the Goodman– to make a home online and offer consistent and engaging programming there as on stage. It is not a requirement to offer this, but it is really not particularly difficult and if it exhibits that Theaters are engaged in the world as we come upon it today, not desperately keeping up and not hopelessly aloof, then they are certainly worth the trouble. But the panicked desperation to have a blog because it is the thing to do leads to a lot of bad blogs and a haziness about what they can and should be.
Aww yeah. Showing up late to the party.
While I’m late to contribute to this online debate, it’s certainly not for lack of interest. A number of the concepts of content generation that Benno explores here (capturing more traffic, deepening interest of the work already being done by theaters, cultivating an ability to communicate clearly and interestingly about one’s own work) are things we tried to throw into relief with World Theatre Day – an event a number of Chicago theater companies threw in cooperation with the League of Chicago Theatres and the Chopin Theatre.
For me, the Chicago WTD celebration was about putting some of these theories into practice and, hopefully, feeding that growing energy of theater’s online presence back offline into a live spectacle. Before the event, theaters from all over the world were asked to contribute video, audio and images of work and play – content they were already generating in the normal course of producing theater – to an open blog. That video and content was then projected and shared in the event on a big screen. During the party, a team of volunteers captured quick video snippets and interviews, and uploaded it within minutes to the open blog using the dirt-simple video capturing tool that is the Flip Camera. International theater artists live-tweeted their responses to the fun was being had in real time, and I posted those tweets back up on the projector screen. It was like internet connection feedback.
So yes: there’s many different ways to generate content as a theater, and there’s many ways to streamline the process of generating new content. But there’s a couple points here where Benno and I seem to have completely different perspectives. One is on the preeminence of new content over easy content. We agree, before you get too excited, that this content has always got to be good. This difference of opinion makes sense, as I’m a production manager of a small company who knows that when you make time for creating new content during a production process, you inevitably rob time from another project … like opening your show. Since marketing is a contract of trust with a potential customer, the model of “you must create new content on your online presence every week or you will lose your online audience” just isn’t sustainable in my experience. What I think is sustainable is something similar… a model of “capturing” your
While Benno is suspect, I’m a total believer and convert to the value and, yes, necessity of social networking as a conscious and intelligently-utilized component to a company’s online presence. World Theatre Day in America simply would not have happened this year without the presence of Twitter and Facebook to coordinate and fuel it. We quite literally organized every aspect of that party – from putting together the talent and equipment to getting the hundreds of partygoers to show up – all through a Facebook meme that allowed individual theaters to add their own branding sauce to the event. That said, Benno’s point about the way he feels about the way especially very large and very small theaters have been using social media – that “they don’t really care what he thinks” – well hell, attention must be paid here. If you are a theater that wants to take advantage of the huge currently-erupting geyser that is social media, part of the bargain is that you must demonstrate care about what your readership thinks. When they feel it’s not a two-way relationship, they bolt.
Remember to remember the obvious: rich two-way dialogue is what theater is all about. The fact that there seems to be a prevalent idea that post-performance talkbacks – or indeed any structured dialogue between theater and audience – is a “farce” is a sign of trouble in my book. That’s a signal to me that we need to reengage and re-conceive how this dialogue could really take place in the future. There have been many moments in the past year that actually indicate to me that theaters take the nurturing of this dialogue very seriously. I was witness to some electric moments of audience engagement in the talkbacks and performances of the O’Neill fest at the Goodman.
Speaking of the internet being an equalizer, it’s a little sad to note that this is because NO theaters, and really no industries on the planet right now, have the infrastructure currently to incorporate Social Networking and web content into their day to day operations. I’ve seen big, small, and medium theaters miss or delay big opportunities to engage in online dialogue, because they’re all still getting the hang of it. The wonderful talkbacks I mentioned above were captured – as the sound engineer I actually did the recording – but as far as I’ve seen they haven’t been rereleased as podcasts yet after over a month. The reason everyone is buzzing about these services and their effect on society right now is because those effects are potentially revolutionary. The effects of blogs on print journalism have shown exactly how revolutionary they can be. I’m not one of those (anymore?) that think that theater is in trouble, since theater ultimately thrives wherever people can talk with each other. New Leaf has been very lucky, as a very very small company, to be one of the beneficiaries of that equalizing force. Getting involved in bringing World Theatre Day to Chicago has put us, a tiny storefront theatre company, in contact with the strategic planners of TCG and in direct collaboration with the League of Chicago Theaters. Sharing our ideas has the added benefit of making us thought leaders. Before I get too excited about that, remember that our theories are only as strong as our data. Companies like Steppenwolf and the Goodman may prove to be the adopters that really matter, since they can accurately test how effective this new form of communication really works.
This is an unprecedented moment in theater’s history in the internet age. Finally, technology is not simply working on producing more widgets or harvesting more resources, we’re focusing our innovative energies on the fundamental challenges of human communication. And I think theater has a lot to teach technology in that department. But we, as a theater community, have to re-learn to have a dialogue in new formats first. And we’re doing it! Gold star.
I have been thinking about this for a couple weeks now:
I love About Face. Their work is important. Their youth program is solid, and yes, I’d agree that it is unique. Inarguably About Face created several of the best long-running works I’ve seen in Chicago: I Am My Own Wife and Winesburg, Ohio. And there are a lot of others that I missed.
But. I cannot help raise $300,000 for About Face. Other than by drawing your attention to it, as many others have this week. If you can help, you should. But I’ve been trying for what seems like years to raise even $10,000 for my home theater, and that has never easy for a theater of our size under normal economic conditions. And I know from among other things the League Fiscal Survey that About Face is not alone and will not be alone in the coming months. I am imagining, right now, a sea of $300,000 pledge drives and that. just. will. not. work.
I get the pain, even if I don’t really understand of the specific conditions. There was this particular day I visited the offices of the soon-to-shutter Famous Door theater after the run of Great Society that I had worked on, days before they started rehearsals for their last production. This was a company that still inspires me, years later, for their seminal production of Cider House Rules that introduced me to Chicago theater – and what Chicago Theater could be. This particular day the tone in the office was… demoralized. Framed pictures were piling on desks. I remember that. No one was moving out… yet. But preparations were in effect. There was big debt being talked about in rumors. The managing director sheparded into a closed office a last-ditch group of independant funders. It was gut-wrenching to watch a theater that I loved break apart. I wish they had as a company reduced their overhead to a manageable level before they had to cease and burn out. Instead, they seemed to do what was best for the people in the company… dismantle the company to allow everyone to pursue their incredible acting careers.
This is not an idea I enjoy writing. It is a moment of support through challenge:
I can hear the furious typing of reprioritized budgets, and backup plans set in motion. Remember what we all know: we should support most what makes our work live most. (Hint: it’s the people, it’s not the office, the furniture.) It’s only partly the space, though we need to support the venues that support us just as if they were a company member. It’s the work, it’s not the size of the production budget. It is that ability to connect with students in your education program and teach them in a lasting way. You may not be able to pay the people, but find new ways to support and connect with your artists.
We must, must, must, must, must, must, must adapt or we will die. That starts with rationing. This is a climate change for the arts. If we are a polar bear sitting on a melting iceberg we can do four things:
– Wait it out. And drown.
– Panic. And drown.
– Phone a prominent national zoo for a helicopter rescue and a cushy but ultimately transformed life as a toothless and contained exhibit in a museum. And hope they pick up the phone before we count all our unhatched chickens.
– Swim to the nearest rocky outcropping before we float away into open ocean and learn to bite through tough Walrus hide. As if our life depended on it.
Survival is more important than the Money.
Here is a list of things I am doing to help my collaborators continue to do the work they do in the face of nightmare scenarios. I have no resources to my name other than time, connections to other awesome people, and ingenuity. So I know these ideas don’t require significant amounts of money. Post your own additions in the comments:
– Unemployed? Spend your time learning new skills. I am training about five people right now about skills that are marketable beyond the arts., and as you can tell from that link, have already gotten some dividends on that training in a little over a year. HTML, PHP, Ruby on Rails Web Programming, Graphics Design, Podcast recording and production, DVD authoring. It is HARD to learn while you’re unemployed. It is hard to battle through the feeling of personal whatever to make small steps of progress again. So latch on to people who know skills like and beyond these, make them breakfast, and learn from them as if your life depends on it. Think about the possibilities you can tap into: there is an expanding market right now for highly-skilled freelancers as full-time coders and records. It’s not a pretty situation any way you slice it, but I’ve seen theater workers, who need these skills anyway to support their primary work, bring a unique and attractive creative energy to technological and design work. It’s vastly easier than managing the logistics of creating theater (yeah, I said it, eat that private sector) and in the right proportions will support the work rather than sap time away from it.
– Fighting an uphill battle against the tide alone? Collaborate. No collaboration can stand without building a trustful relationship first. Be dependable and depend on others. Theaters all need to face this problem three days/months/years ago, and each theater is still coming up with solutions in their own private laboratory. For the love of god, there’s a reason why the medical community publishes their work. Share your thoughts, plans, and goals with other theaters towards the end of mutual support. Get specific, get vocal, get transparent. Those seem to be the traits that are rewarded by community attention right now. Perhaps itemize what specific line items your $300,000 fund drive will go to support. There is often a $5,000 solution to a $20,000 problem… if many eyes are on the lookout, you’ll find it faster. Also, on a really basic level – talking out your problems with your peers provides all kinds of psychological support that helps nurture creative problem solving.
– Closing down the office? Where will we have in-depth creative discussions? Where can we focus our energy? I’ve explored the low-cost possibilities of public spaces, online forums, and all the wonderful breakfast joints this town has to offer for a more efficient kind of collaboration. And you know what, it’s hard, but it works.
January 22, 2009By: Nick Keenan Category: Sound, Tools
I was telling someone the other day that the goal of modern DIY design in theater is to get to the point where you can use design as agilely as an instrument. The flexibility, immediacy, and coordination one can throw at your work multiplies when you can reshape and work with your materials live in the space, reacting to other designers and performers who are playing with their instruments – whether it’s their voice, their bodies, their sets, their lighting, or their literal instruments.
So when a technique comes around that increases my own responsiveness as a designer, I get pretty stoked.
Let’s take a real world example, like my recent collaboration with composer Stephanie Sherline on Rivendell’s production of These Shining Lives. We composed and arranged a number of themes for the show, including this one, which we called Music Box:
So, a couple of instrumental ideas here, all built using Logic Pro:
A clock metronome
A plucked harp
A rolling harp baseline
A clock counterpoint
A low bass drum heartbeat
A ratchet crank
A reverbed string section
Now Logic can easily bounce all these ideas as a simple stereo file and I could play that music through the main speakers just fine. But I’m gonna do something a little more magical.
I bounced each instrument separately as mono files, and imported them into a single Audacity file:
From there, we set Audacity to export with the multi-track WAVEX format. You can choose, when exporting, to mix certain tracks together or keep them distinct:
This creates a multi-track interleaved audio file, so as the computer plays back the file, all instruments will stay in time with each other. In many audio playback systems, multi-track mixing is achieved by playing several stereo files over each other, but this method can result in a certain amount of tempo drift as one file plays faster than another over a period of several minutes. Annoyance: avoided.
Now we drag this multi-track file into our qLab project, and edit the cue’s volume settings. We see a grid of crosspoints (also known as an audio matrix). Each row is one of our multi-track instruments, and each column is a speaker in the space.
Can you see what’s going on here? Each individual instrument can now be routed to its own speaker or combination of speakers to create a different audio shape, or image. So while our metronome clock tick can come quietly from the radio, our reverbed string section can waft lightly through the window. Or our main harp melodies can play against each other right to left through the main speaker system. It’s like the orchestra playing this music is hidden in different spots in the space, but they are still playing the music together.
In addition, I have added an eighth track, which is a reverbed version of the counterpoint clock tick. By adding in a variable amount of reverbed or “wet” signal to the “dry,” unaffected sound, you can make the overall tone of the music feel more distant or more present, more dreamy or more real.
All this can be done on the fly, as the director restages a scene or you see how the music times out with stage action.
With qLab’s fades, I can have individual instruments fade in or rest over time, or even appear to move around the space. A large, momentous reverbed clock tick coming through the mains can fade to become an ambient naturalistic clock tick coming through the radio. Or, I can adjust the masters for each row to use just one or two instruments in combination, varying the motif a bit. Here’s a version with just the Harp and the Ratchet:
or a pensive, waiting underscore:
That’s a lot of in-the moment flexibility, all with the same file.
These Shining Lives is now running at the Raven Theatre in Chicago through January 31st. More information at rivendelltheatre.net.
This post was sponsored by my good pal Andrew Wilder of LuxiousLabs, who bought me a medium Dunkin Donuts hazelnut with cream only. My favorite. You should check out his iPhone app, HelloCards, which allow you to send personalized greeting cards – yes, with pictures – from your iPhone. Many of the designs for HelloCards were created by my wife, Marni. (who is to Andrew as awesome is to also awesome.)
A quick and dirty Theater Media Roundup for you today: Because this one is simple, and good.
Long-time foundation of the American theatrosphere (with one of the most prolific sidebars I’ve ever seen) Matt Slaybaugh of Theaterforte took some time off of blogging this year and recently returned with this video:
This is an ideal shoot-from-the-hip use of media to communicate an idea, and here’s why:
1) It’s edited. Do not. Ever. Say. The Word. Ummmmmmmmmmm. On Camera. You’d edit your blog post or play, right? Edit your video / podcast / smellcast. What’s bizarre to me is that many people fall into a habit of thinking of video & media editing as a way of *over-complicating* the content of the video. Editing a video is functionally no different from editing an essay, play, book, what have you. It’s just the art of focusing your delivery mechanism to your communication. I cannot stress this enough: The choice we have when we tap technology to serve our message or story isn’t as simple as “Ornamentation or Nothing at all. If you’d like a great example of how effective low-budget and low-time-investment simple spliced transitions can be, see also Ze Frank. I do like how Slay doesn’t overedit here – he lets us in on the energy and humility of generating honest and personal thought, without letting us get completely mired in his moments of unrehearsed distraction.
2) I know what Slay sounds like now. I cannot stress how important this is to an online collaborative culture. The big difference between the page and the stage is that you have to make choices about your voice, the words (and therefore ideas) that you stress, the intention of the words that you’re saying. Same is true of blogs versus online video. The web strips our emotions and irony out of our words, unless we’re consciously adding them back in, like this: Bam! Not so with video. Slay communicates his sincerity and excitement for the new direction of his theater company without fear of misinterpretation.
3) Slay stays honest in video. A little bit like staying crispy in milk. When you’re able to communicate honestly in one media, that’s no indication that you’ll be able to communicate in another media. This was the big leap I had to make when I started this blog: I felt like I could communicate honestly through sound, but I still struggle every post with keeping my writer’s voice honest, because it’s not a muscle I exercise as much.
The answer is often: simplify, and return to doing what you do, even if you do it in a new format.
4) Form follows function. The idea: The internet is an important tool for generating discussion and collaboration. The form: let’s remove the normal misinterpretation of tone and intention that comes with most blog posts and put a human face to things. That’s why this is a better video post than a blog post.
I think this struggle with honesty where most theaters are at right now with their New Media experiments – in both attempts at marketing and attempts at incorporating video projections into shows – it’s about learning to be honest through a new method of communication. Clearly, I still need to learn that blog posts should be short. It’s frustrating, and there are failures. It’s very surprising to me that there is so little patience in the theater community for this process, that there’s this idea out there that adding video to a theater’s website or incorporating technology into a play’s design is either universally pointless or necessarily detrimental to the work itself. Of course, we have to concede that theaters hurt themselves when they use new media in ways that are inappropriate to their identities as artisans, and that happens when they don’t take the time to develop and incorporate the technology all the way. But when a theater’s use of new media does match their aesthetic closely, sparks fly. It’s like what happens when a performer learns to really project for the first time. The voice begins to soar around the space, jettisoned from their diaphragm, and suddenly, a simple technique has amplified the performer’s power and presence. Do you need it? No. Does it help? If appropriate, hells yes.
As promised, I’ve written a little something on the process for Touch that will be showing up on the New Leaf Theatre blog today. It includes a little narrative peak into my sound design process for this show. Hope you like it – and thanks for all the words of excitement for the show, you local gang you. I can’t wait for you to see it.
And here I am, up in my booth again, unable to cross the street to pull my own copy to skip home with. Ah well.
So, welcome, Reader readers! Your questions are welcome about sound, art, what you prefer and why you prefer it, and how sound generally affects your experience in entertainment.
A quick note, though, if the article scares you or reminds you of how deaf you have become. If you’ve been into that shake-me-up rock ‘n roll experience, and you’re also into keeping your hearing, check out these babies:
They’re not for everyone, but they can be affordable and have a “flat frequency response,” meaning they don’t color or distort the sound coming into your ears – like regular ear plugs would. They just make that sound that you’re hearing about 15 – 25 decibels quieter, and protect your hearing in the process.
I personally use something like this when listening to my iPod on the train – Isolating ear buds (Not to be confused with noise-canceling headphones that actually add to the ambient noise attacking your eardrums). Reduce the noise coming in, and I can enjoy my podcasts at a nice, safe, low volume.