Rose Rose I Fear You
[composed on my PDA-phone at about 11pm, 31st Oct 2007]
Technical runs are known to be frustrating at best, and downright agonizing on average. Today, I think our combined blood pressure rose high enough to keep the whole of Genting Highlands heated for the rest of the year.
Disorganisation is only painful if it affects you, then you truly appreciate, value and even treasure the pain-in-the-ass-ness of an organised group. The general mood of the whole team was so low that any of us would've committed murder if we could've escaped the theatre hall. Me, I was so tense that I had trouble shitting- it is rather weird to continuously, consciously tell your arsehole to relax.
What have I learned thus far?
1. It's called a production TEAM for a reason. The Director and the Stage Manager need to work together. The Musical Director needs to work together with the D and the SM.
2. All the people involved are also a team, working together to have the production happen. Well, preferably. The Director and the cast are on the same side. The Stage Manager and the cast are on the same side. The musicians and the cast are on the same side.
3. Respect is so important. Respect for other people, respect for people's time, respect for the need for effective communication, respect for people's space and abilities. Insulting people simply does NOT bring out the best in them. Taking the effort to not waste people's time on waiting around goes a long way in boosting morale and provides an excellent reason for people to give their very best during the times they ARE working for you.
4. Planning is so crucial. For one, it builds on #3 above - giving a schedule for people to work with and organise their time around. Furthermore, it means that there's a common direction for people to work towards, and so practise with a known goal in mind. It is also a structure for improvement - what has been tried, what has been adapted, what works and what doesn't. Having clear rest times ensures your team stays relaxed and not tense even when on a break. Let's never forget that the key to having a plan work is keeping to it.
5. A smoke-free theatre is not a given, and must be appreciated.
6. The mindset of 'get as many things done at the same time' or some form of kiasu-ness, when it comes to stop-start running a play, does not work. Wanting to work tech (sound and lights), blocking, choreography, music and pacing all at the same time throws everyone off their cues and characters.
7. Clear communication is vital to get things done smoothly and effectively. Everyone who needs to know, needs to be told. There should be a "Director's Notes" and a "Stage Manager's Notes" at the end of every rehearsal or so, to communicate what had been done that rehearsal and what (and when) the next one is.
Just a few days ago I was looking forward to this Genting trip with a volatile mixture of excitement and trepidation. Working at a different venue (my largest), enjoying a most-expenses-paid, extended stay at cool (cold, not hip) Genting, getting away from the madness of KL, a chance to finally get it all over with. And yet - maniacal whole day rehearsals, spur-of-the-moment changes to anything whatsoever, expected rehearsals even after opening night, the mad flood of ultimate Cina-ness that is Genting, the oldness of everything.
Now that I'm here, I so want to fast forward to the end of next week. And yet I so look forward to those little moments of free time. Bah.
Lights out.
Technical runs are known to be frustrating at best, and downright agonizing on average. Today, I think our combined blood pressure rose high enough to keep the whole of Genting Highlands heated for the rest of the year.
Disorganisation is only painful if it affects you, then you truly appreciate, value and even treasure the pain-in-the-ass-ness of an organised group. The general mood of the whole team was so low that any of us would've committed murder if we could've escaped the theatre hall. Me, I was so tense that I had trouble shitting- it is rather weird to continuously, consciously tell your arsehole to relax.
What have I learned thus far?
1. It's called a production TEAM for a reason. The Director and the Stage Manager need to work together. The Musical Director needs to work together with the D and the SM.
2. All the people involved are also a team, working together to have the production happen. Well, preferably. The Director and the cast are on the same side. The Stage Manager and the cast are on the same side. The musicians and the cast are on the same side.
3. Respect is so important. Respect for other people, respect for people's time, respect for the need for effective communication, respect for people's space and abilities. Insulting people simply does NOT bring out the best in them. Taking the effort to not waste people's time on waiting around goes a long way in boosting morale and provides an excellent reason for people to give their very best during the times they ARE working for you.
4. Planning is so crucial. For one, it builds on #3 above - giving a schedule for people to work with and organise their time around. Furthermore, it means that there's a common direction for people to work towards, and so practise with a known goal in mind. It is also a structure for improvement - what has been tried, what has been adapted, what works and what doesn't. Having clear rest times ensures your team stays relaxed and not tense even when on a break. Let's never forget that the key to having a plan work is keeping to it.
5. A smoke-free theatre is not a given, and must be appreciated.
6. The mindset of 'get as many things done at the same time' or some form of kiasu-ness, when it comes to stop-start running a play, does not work. Wanting to work tech (sound and lights), blocking, choreography, music and pacing all at the same time throws everyone off their cues and characters.
7. Clear communication is vital to get things done smoothly and effectively. Everyone who needs to know, needs to be told. There should be a "Director's Notes" and a "Stage Manager's Notes" at the end of every rehearsal or so, to communicate what had been done that rehearsal and what (and when) the next one is.
Just a few days ago I was looking forward to this Genting trip with a volatile mixture of excitement and trepidation. Working at a different venue (my largest), enjoying a most-expenses-paid, extended stay at cool (cold, not hip) Genting, getting away from the madness of KL, a chance to finally get it all over with. And yet - maniacal whole day rehearsals, spur-of-the-moment changes to anything whatsoever, expected rehearsals even after opening night, the mad flood of ultimate Cina-ness that is Genting, the oldness of everything.
Now that I'm here, I so want to fast forward to the end of next week. And yet I so look forward to those little moments of free time. Bah.
Lights out.
Labels: theatre
posted by Jo at 5:37 pm
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