Putting a Face on Theatre
Cameron Jackson, Producing Artistic Director, Theatre School at Fla. State - Sept. 29, 2010
Live Chat returns this week with Cameron Jackson, Executive Director and Producing Artistic Director at the School of Theatre at Florida State University. In addition to his acting and work as artistic director, Cameron is also a highly experienced stage manager and acts as a mentor in USITT’s Stage Management Mentor Project. His official bio is below. While he’s here we’ll talk about undergrad training for a theatre career, the traits of a successful stage manager, and how to get involved with programs like the USITT SMMP. To accommodate Cameron’s very packed schedule, we’re running the chat a little later than usual this time around. It will take place at 3:30 p.m .EDT/12:30 p.m. PDT. See you then!
Here are the questions I'll be leading with:
1 - As producing director, you've got a lot of responsibility for the direction of training at your school. What do you try to make sure each undergrad receives in their time at Florida State?
2 - What are the qualities of a successful stage manager? Not just in terms of each show, but in terms of a career. What does it take to survive in such a demanding job?
3 - What is the USITT Stage Management Mentor Program? How can students get involved?
Can’t make the chat? Leave a question below and I’ll be sure to ask it during the chat!
Professor Jackson, who serves as the Florida State School of Theatre's Executive Director and Producing Artistic Director, holds a BFA in Acting from New York University and an MFA in Stage Management from University of Alabama. Cameron has taught at Mars Hill College, University of Tennessee, Arizona State University and most recently was a founding Director of the Clarice Smith Performing Arts Center at the University of Maryland. Cameron has worked at the Virginia Stage Company, the Pennsylvania Shakespeare Festival, the Southern Appalachian Repertory Theatre, the Folger Shakespeare Library, The Promenade Theatre, the Alabama Shakespeare Festival, Manhattan Theatre Club, the Clarence Brown Theatre, LaMaMa ETC, the Performing Arts Center at SUNY Purchase, the Minetta Lane, the Clurman, the Lion, Circle Rep., the Beckett, New York Theater Workshop, Riverside Players, City Hall, Ruth Eckerd Hall, Sun Valley Rep, and the Perry Street Theatre.
A native Floridian, Cameron has spent several years on the road with shows like Penn & Teller "The Refrigerator Tour", Jekyll and Hyde, Dirt with Ralph Waite and over 300 performances of Harriet the Spy. Cameron has been involved in some aspect of a production in every state except Hawaii, Alaska and Washington. Highlights of his productions include, The Art of Success with Tim Curry and Mary Louise Parker at Manhattan Theater Club, A Christmas Carol with Helen Hayes, Raul Julia and Len Cariou and a New York Theatre Workshop Production of Sally's, She Left Her Name with Michael Lerner, David Canary, Cynthia Nixon and Robert Sean Leonard.
In addition to his work in academia, production management and stage management, Cameron was an actor for ten years and the Chair of the Theater Department for the Pinellas County Center for the Arts, a performing arts high school. Cameron is a member of Actor’s Equity Association, the Stage Managers Association and a mentor in the USITT's Stage Management Mentor Project.
Tags: cameron jackson, stage management mentor progr…, usitt
Replies to This Discussion
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And here's the transcript, typos and all!
JACOB COAKLEY: So, Cameron -- how'd you get involved in theatre?
CAMERON JACKSON: I was taken to the theatre as a child by my parents and fell in love right from the start. I wanted to be involved from that moment on.
CAMERON JACKSON: I did community theatre and then studied it in school. and now....
JACOB COAKLEY: I got the impression from your bio that you started as an actor, then moved into SM'ing. How did that transition happen?
JACOB COAKLEY: still with us Cameron?
CAMERON JACKSON: You are right. I wanted to have a bigger impact on the productions. I also didn’t want to be governed by whether I was the right type for a particular show. /e
JACOB COAKLEY: whew. making me nervous. :-)
CAMERON JACKSON: . I got evolved with a show that had responsibilities on stage and off and keep right on going. Sorry typing slower
JACOB COAKLEY: It's OK!
JACOB COAKLEY: I've always admired SM's -- it's an incredibly difficult role, and often very thankless.
JACOB COAKLEY: is there a specific temperament that SM's have (or can cultivate) to
CAMERON JACKSON: It can really make the difference in how a show runs. The answer is yes
CAMERON JACKSON: If they are someone who takes everything personally, they will be sunk
CAMERON JACKSON: it is a buisness. they are not your family.
CAMERON JACKSON: You can be friends. Even life long friends and still not need to treat them like anything other than business folks
CAMERON JACKSON: It is also important to not be an addictive personality
CAMERON JACKSON: you are the point person for so much. Save the drama for the stage. OK
JACOB COAKLEY: I heard this phrase last year, and I love it: "I work in theatre, not drama."
CAMERON JACKSON: the SM is a big part of the culture in a production as they are the hub of communication. IF you get drama you don't need to pass it along.
NATHAN JAMES HELDSTAB: Hello Cameron and other USITT SMMP Mentors!
JACOB COAKLEY: Hi Nathan! We're almost to the 15-minute mark.
JACOB COAKLEY: Cameron - did you have more along those lines? Or should I open it up to questions from teh floor?
CAMERON JACKSON: I heard a SM say once that SMs are people too. ---You can open it up to what ever people want to know about.
JACOB COAKLEY: :-)
JACOB COAKLEY: Alright, you heard the man!
JACOB COAKLEY: Who has questions about being an SM, acting training, or the USITT SMMP?
AARON ROWE: Hello Cameron -- what advice would you give someone looking to delve more into stage management, either starting a career or switching careers?
NATHAN JAMES HELDSTAB: Sorry. I missed the line about waiting 15 minutes.
JACOB COAKLEY: :-) You came in right on time, Nathan.
CAMERON JACKSON: Aaron, know what your strengths are. More—
CAMERON JACKSON: Switching careers is hard but you have to have a destination in mind. SM is not one to dabble in. You need to make a plan
ELYNMARIE K. ZIMMERMAN: very true!
CAMERON JACKSON: Trainin such as in a university is great but experience is what will teach you the most
CAMERON JACKSON: working at all levels will get you used to working with different personallities. The only thing I would watch out for is getting /e
JACOB COAKLEY: ??
CAMERON JACKSON: too comfortable. it is a position that needs to be on alert
JACOB COAKLEY: anyone else?
CAMERON JACKSON: not so much for danger but for all the different kinds of communication going on around them
JULIA M. FINDING: Can you describe the USITT SM Program a little more?
NATHAN JAMES HELDSTAB: When you start to feel burnt out in a show...it could be school work, director, friends, family, etc. Do you have a moto or idea that keeps you focused and pushing forward?
JACOB COAKLEY: let's tackle the USITT program first.
CAMERON JACKSON: each year 12 students from around the country are chosen to manage the large events of the conference. That is just one aspect of the conference. One of the most valuable experiences is the group discussion around topics that are most important to/e
JACOB COAKLEY: Don't worry Nathan -- we'll circle back 'round to answer yours!
CAMERON JACKSON: to those in the room.
NATHAN JAMES HELDSTAB: Jacob I am not worried at all. But thank you.
CAMERON JACKSON: you get paired with a mentor who works wth you on the events and on your path
JULIA M. FINDING: Who are the mentors? Not specific names but rather are they seasoned SM's or are they SM's from all over the spectrum?
CAMERON JACKSON: as for burn out. If you get tired of the same thing all the time I wonder what it is that's driving that. The show is different and the folks are different. It is a personal thing like being bored. It is a state of mind
CAMERON JACKSON: the mentors are from all corners of the field. Opers, Theatre, Parks, enents, education. The one thing they all have in common is their desire to help guide others
JOSH ALLEN: Hi Cameron - I am one of the Theatre Consultants for FSU's Ruby Diamond Theatre renno - have you been in the room yet? Looking forward to B.B. King this weekend? Seems like an exciting time for FSU!
NATHAN JAMES HELDSTAB: yeah I can see/understand the state of mind thought
CAMERON JACKSON: the space is super. It is always nice to wank into a beautiful space
JOSH ALLEN: We were very pleased with the space and how it turned out.
JACOB COAKLEY: Cameron - earlier you mentioend a SM should be aware of all the different kinds of communication going on around them.
CAMERON JACKSON: nice surroundings help remind me of the magic that is possible
JOSH ALLEN: agreed!
JACOB COAKLEY: Can you expand on that a bit? What sort of communications do you mean, and what sort of reactions do they call for?
JOSH ALLEN: Sorry to derail the SM conversation...
CAMERON JACKSON: communication comes in all kinds of forms. things said, not said body language and everything in between. They need to take it all in
JACOB COAKLEY: no worries, just pulling us back on. :-)
NATHAN JAMES HELDSTAB: Is there a "safe" way to approach a director if you are unable to read their body language and also unable to read what they are not saying?
CAMERON JACKSON: if the job is to remove anything in the way of the audience hearing the words. the actors and everyone in the room is giving clues to where they are with the language. The SM is the hub of that communication
CAMERON JACKSON: clear from the begining. If things are unsafe that needs to be said. you both need each other and clear communication including saying it feels unsafe is the only way to go
CAMERON JACKSON: SM's don't work for the directo but rather with the director
JACOB COAKLEY: that feels like a really important distinction.
CAMERON JACKSON: you will continue with the show after the director is gone. They will need you to understand not just the show now but how to guide it as it lives after opening
JOSH ALLEN: Could you talk a bit building relationships with a production's design team, from the SM POV?
CAMERON JACKSON: the big thing is to make sure that everyone understands what each other is saying. The big thing is misunderstandings. You can be the help to that being avoided. So encouraging, positive clear communication. YOu want the designs to be a great /e
CAMERON JACKSON: as they can be. They need contstant communication about questions and additions and the director needs the same. Sometimes I /e
CAMERON JACKSON: like to think of it as being a help line operator. You don't want to get that information wrong and so I listen carefully
CAMERON JACKSON: what else?
JACOB COAKLEY: Anyone?
MARLEY MONK: Could you maybe talk about working as part of a SM team?
NATHAN JAMES HELDSTAB: Yes please. I like that question.
CAMERON JACKSON: That is a great question. I think the rick is in your question. Team. Everyone has to have responsibility. You might want to think of training them to be your replacement. Make sure they know everything. That they not just feel /e
CAMERON JACKSON: but are a part of it . include them in decisions get their perspective on a problem. If nothing else you know where their head is by asking. That will help with knowing how they might react in a crisis
JACOB COAKLEY: Crisis mgmt -- got a couple words on that before we have to let you go?
CAMERON JACKSON: if they are just helpers they are not as invested. You will need everyone. start from the begining. know what they're there for. they are listeners as well.
CAMERON JACKSON: live theatre is to be delt with as though anything can happen. If you remember any recent crisis the main complait was that there was a lack of communication. This is where you come in.
CAMERON JACKSON: in tech week you are always keeping everyone up on where you are in the show and what is next
CAMERON JACKSON: the same needs to be true in a crisis. Kepp everyone up to date. say only what you know and not opion or guesses
CAMERON JACKSON: most folks just want to know what they can expect and what their options are. later you can get to what caused this - if that is yyour job
JACOB COAKLEY: Well, it's now 1:20 here -- which means I've kept you as long as I can, CAmeron!
CAMERON JACKSON: most folks seem to want to communicate that ther is a crisis not what to do about it. the first isn't as helpful as the second
JACOB COAKLEY: didn't mean to cut you off.
CAMERON JACKSON: thanks again for arranging this.
JACOB COAKLEY: My pleasure! I appreciate you taking the time out of your busy day to help us out.
JACOB COAKLEY: Is there any way people can get a hold of you if they ahve further questions about SM'ing, or FSU?
JOSH ALLEN: Is there any way people can get a hold of you if they ahve further questions about SM'ing, or FSU?
CAMERON JACKSON: any time. I would be gald to be emailed about the SMMP if ther are other questions. ccjackson@fsu.edu
NATHAN JAMES HELDSTAB: Thank you Cameron!
JOSH ALLEN: Thank you for the chat!
MARLEY MONK: Thank you!
JACOB COAKLEY: Thank you Cameron, and thanks everyone for your participation! I'll have the transcript up shortly!
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