Trish Causey's Posts - TheatreFace

Basic Stage Manager Tools - Office Supplies & Extras

2011-02-07T17:00:00.000Z

Continuing my series on Stage Managing, I'll wrap it here after writing on Stage Managing 101, Basic SM Duties, Basic SM Tools - Clothes, and Basic SM Tools - Fix-It Shop.

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In your handy-dandy rolling briefcase, you will have a myriad of tools both traditional "fix-it" type tools as well as a plethora of office supplies.

Note: The "rolling" briefcase is to save your back. You can carry a bag, but during the rehearsal process, you will find yourself responsible for toting more and more items. Once you're in the theatre, enjoying the run of the show, you may not need a large bag because you should be able to keep everything you need at the theatre.

Office Supplies:

If you have a desk at home, look around at what you have and just assume you’ll need all of that (and then some) to Stage Manage.

Stopwatch

The single most important item a Stage Manager must have at all times is a stopwatch. While there are times the script will be left at the SM booth or at the rehearsal site, the SM stopwatch should be on the SM's person at all times from arriving at rehearsal (if not earlier) to the end of rehearsal or the performance.
The SM calls the beginnings and ends of all rehearsals and breaks. The backstage calls for "half hour," "15," and "places" all come from the SM's stopwatch. The ASM, and anyone who works on the show based on the time, should match their watches to the SM's. It is highly unprofessional for an ASM or stagehand to contradict an SM over the headset, arguing about what time it is (i.e., a minute early or late, etc.). Better to synchronize watches by the SM stopwatch beforehand.

Binder (with zipper)

Known as "The Bible," the Stage Manager's script is the most important item to the show overall. Everything that happens in rehearsal as well as on stage, backstage, and in the tech booth begins and ends with the the Bible.
I prefer a binder with a zipper which range in price on the low-end around $20 upwards to the hundreds of dollars (if covered with luxury animal skin). As you go through the rehearsal process, you will want your most needed items at your fingertips: script, personal pencils and pens, sticky notes, hi-liters, etc. Using a zip binder keeps your mobile office together and easily portable.

Permanent Markers

Using a marker, tag everything that is yours as “STAGE MANAGER.” Don’t use your name. The title should put enough fear into people’s hearts to ensure they bring your stuff back. If possible, have the actor bring their book, prop, or whatever needs minor surgery to you and let them sit down and take care of it so they don’t wander off with your tools.
If you’re paying for your own supplies (i.e., the Producer doesn’t reimburse you for expenses), get your SM supplies whenever you can. The best time to buy them is August and September when many stores offer “back to school” savings. If you’re not going to SM until March, you might want to jump on the school supply band wagon.

#2 pencils

Leave a handful on the Director’s table that the actors can come up and use whenever they need to or if they break the tip of their current pencil. This allows blocking rehearsals to keep moving rather than stopping while the actor re-sharpens.

NON-electric sharpener

Sure it takes longer, but you don’t want to see the veins pop out on the Director’s forehead because his rehearsal was rudely interrupted by the WHIRZZZZZZ of an electric pencil sharpener.
Sharpening pencils outside of rehearsal is a great job for the ASM, a P.A., or other type of intern. (For that, an electric sharpener is okay.)

Hi-liters

You may want to use hi-liters to color-block your notes or your script for easy reference. For instance, yellow for "warning" calls and green for "go" calls. Or color prop cues "purple," or cues based on the backstage ASM's confirmation of a quick costume change in pink, or unusual cues in orange, etc.
Some SM's may not want to hi-lite anything. More power to them. As a left and right-brained person, I like the visual reminders of my logical duties.

Sticky Notes & Sticky Tabs

Sticky notes are great for quick messages for actors or even sliding a note, "Break?" to a director. Along with the color-coding of the hi-liters, you may want to color-code sticky notes for reminders and notes to others or yourself. Sticky tabs can be used to subdivide the script into scenes or songs (if a musical or opera).
Actors may also need your sticky notes of sticky tabs, but make sure to keep your personal supplies needed for your job separate from the supplies you make available to the actors.

Sewing kit

For quick fixes during the rehearsal process or when the Wardrobe Mistress isn't required at rehearsal. But remember SMs: You are merely providing the sewing kit. It is NOT your job to actually repair their clothes, costumes or personal props.

Other items you might want to have include liquid paper ("white out"), notebook paper, paper for signs, etc. The reports and official forms you need to have depend on the kind of show you're doing. You may want to post a rehearsal schedule by month, week, or day. You may need to have a sign-in/out sheet. As an Equity SM, you'll get all your official report forms from Equity.

Extras

While everyone else gets their allotted breaks, often time the SM is taking care of problems during "breaks." In a way, your job is to take care of everyone else, to make sure they have what they need and ensure things happen on time. But almost no one thinks to make sure you have what you need. Take care of yourself by having a stash of water (NOT caffienated drinks), protein-rich snacks, and fresh fruit. And be sure to write STAGE MANAGER on your water bottles.

You may also want to have on hand some items for the cast and crew that are hopefully provided by the producer: breathsavers, hand sanitizer, Tums, and mild pain reliever.

NOTE:

Cough drops and mints can cause a surge of acid reflux as well as irritate the mouth and throat. Throat spray is also bad because it numbs pain giving the vocalist a false sense of usability which can cause further damage to the larynx and vocal folds.
For a mild pain reliever, have acetametaphine or naproxen available in the First Aid kit. Do NOT give out aspirin or ibuprofen as they are known to cause problems with the voice due to their blood-thinning properties (this goes for actors AND singers).
Separate your personal supplies from the grab-all bits for the cast or crew. The actors especially will be attracted to items that are shiny and colorful.

Dear Actors - TOUGH LOVE:

The Stage Manager is responsible for the running of the show. The Stage Manager is NOT:

your mama
your babysitter
your personal vending machine
your doctor or pharmacist

If you need snacks to tide you over till a food break, or candies to keep your blood sugar stable, or regularly need Tums or a pain reliever, THEN YOU BRING THEM. Anyone who asks the Stage Manager for any of the above items is an unprepared greenhorn who is disrespecting the role the Stage Manager plays in realizing the Director's vision and the Producer's investment. Bring your OWN snacks and medications.

trish

Basic Stage Manager Tools - Fix-It Shop

2011-01-31T16:00:00.000Z

To follow-up with "Stage Managing 101" and "Basic SM Duties," and "Basic SM Tools: Clothes," here is Part IV in my series:"Basic Stage Manager Tools - Fix-It Shop."

The tools required of the job of Stage Manager fall under the categories of both the “mechanical” type: hammer, screwdrivers, tape measure, as well as more artsy “utensils”: scissors, markers, and colorful sticky notes. Though the SM doesn’t have to necessarily be a hands-on, “fix-it all” kind of person, the SM job does require a problem-solver mentality and the willingness to get his or her hands dirty from time to time. If you’re worried about your nails or your clothes, then being an SM is not for you.

Stage Manager Tools

Stage Manager Bag

If you’re serious about going into Stage Managing, invest in a quality, waterproof rolling briefcase. Just know ahead of time, it won’t stay pretty for long, so don’t fall in love with its exterior features. The briefcase is for the tools of the trade, your Bible (master script), various and sundry items listed below.

Hammer

Not just for venting frustration, a hammer is needed for a variety of reasons both at rehearsal and especially at the theatre.

Screwdrivers

The SM must be prepared for anything, so have different sizes and different kinds of screwdrivers in your bag. My favorite “screwdriver” was a gift — an 8-in-1 type of tool that has 4 sizes of flathead screwdrivers and 4 Phillips, with a flashlight in the center.

Flashlight

Having a big flashlight is always a great idea for the dark nether-regions of the backstage area or for under your table in the dark tech booth. But most stagehands prefer high-powered black flashlights that clip onto their belt.

Measuring Tape

Get a tape measure that extends at least 25 feet, but 50 or 100 feet is better. Most stages are at least 25 to 30 feet wide, if not wider, so it’s better to have a tape measure than can handle the job. If you’ve ever had to extend the tape as far as it goes, then, make a mark, and measure from that point to the end, you know the “measuring twice” adage isn’t the most convenient option.

Masking Tape

Masking Tape is good for labeling items for the production (chairs, tables, boxes, etc.) or your own supplies, writing in permanent marker over it.
- Example: Actors like repetition and may prefer to use a specific prop or representative set piece in rehearsal. When using homogenous items, like a folding chair, an actor may want to use the same chair every rehearsal. Put masking tape on the chair back and the actor’s character name in marker (“Hamlet”).

WARNING: Masking tape can take up paint and/or mess up finishes on floors. For marking the floor, use spike tape.

Spike Tape

The SM will mark out the stage perimeter on the rehearsal floor and any set elements such as door or window openings, stairs, etc. Use a permanent marker to indicate Act I (“I”) or Act II (“II”) markings, or even a specific scene, such as Act I, scene 2 (“I-2”).
The Director and/or the actor may ask the SM to spike where an actor needs to stand for a certain entrance or monologue. If you have various colors of spike tape, you can color-code your marks, otherwise, just write the Act-scene and/or the actor’s character name (“Hamlet III-2”)
If you cannot get spike tape in time, use painters tape until the spike tape arrives. But beware: Painters’ tape is not designed to stick for weeks at a time. It will want to come up as people walk across it. However, if left down for weeks, it will become sticky and is a mess to take up. Try to order your spike tape ahead of schedule.
Note: Spike Tape is NOT the same as duct tape.

Drill

This is optional, but modern drills are smaller and often lighter than what your father probably had in the garage. Get a battery-operated flexible drill. (You just never know what you’ll have to do as SM.)

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You'll notice that orange is my signature color, and even in my SM gigs, I carry that across. Since most people don't like orange, I find I am the only person with orange stuff at a rehearsal; therefore, if it's orange, it's mine. There is no confusing my things with other people's --- especially since I label all my tools and supplies as well.

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Side Note:

To make sure no one ever wants to steal your tools, you might want to get everything you use in pink. I guarantee, most actors or certainly no stagehand will want to be caught with "manly" tools in a shade of pink .

Stay tuned for my next article on "Basic Stage Manager Tools: Office Supplies" which includes things the Stage Manager is NOT responsible for having, plus a special note, “Dear Actors,” under Tough Love.

· Stage Manager Bag

o If you’re serious about going into Stage Managing,
invest in a quality, waterproof rolling briefcase. Just know ahead of time, it
won’t stay pretty for long, so don’t fall in love with its exterior features.
The briefcase is for the tools of the trade, your Bible (master script),
various and sundry items listed below.

· Hammer

o Not just for venting frustration, a hammer is needed
for a variety of reasons both at rehearsal and especially at the theatre.

· Screwdrivers

o The SM must be prepared for anything, so have different
sizes and different kinds of screwdrivers in your bag. My favorite
“screwdriver” was a gift — an 8-in-1 type of tool that has 4 sizes of flathead
screwdrivers and 4 Phillips, with a flashlight in the center.

· Flashlight

o Having a big flashlight is always a great idea for the
dark nether-regions of the backstage area or for under your table in the dark
tech booth. But most stagehands prefer high-powered black flashlights that clip
onto their belt.

· Measuring Tape

o Get a tape measure that extends at least 25 feet, but
50 or 100 feet is better. Most stages are at least 25 to 30 feet wide, if not
wider, so it’s better to have a tape measure than can handle the job. If you’ve
ever had to extend the tape as far as it goes, then, make a mark, and measure
from that point to the end, you know the “measuring twice” adage isn’t the most
convenient option.

· Masking Tape

o Masking Tape is good for labeling items for the
production (chairs, tables, boxes, etc.) or your own supplies, writing in
permanent marker over it.

§ Example: Actors like repetition and may prefer to use a
specific prop or representative set piece in rehearsal. When using homogenous
items, like a folding chair, an actor may want to use the same chair every
rehearsal. Put masking tape on the chair back and the actor’s character
name in marker. (“Bob”)

o Warning: Masking tape can take up paint and/or mess up
finishes on floors. For marking the floor, use spike tape.

· Spike Tape

o The SM will mark out the stage perimeter on the
rehearsal floor and any set elements such as door or window openings, stairs,
etc. Use a permanent marker to indicate Act I (“I”) or Act II (“II”) markings,
or even a specific scene, such as Act I, scene 2 (“I-2”).

o The Director and/or the actor may ask the SM to spike
where an actor needs to stand for a certain entrance or monologue. If you have
various colors of spike tape, you can color-code your marks, otherwise, just
write the Act-scene and/or the actor’s character name (“Bob II-3”)

o If you cannot get spike tape in time, use painters tape
until the spike tape arrives. But beware: Painters’ tape is not designed to
stick for weeks at a time. It will want to come up as people walk across it.
However, if left down for weeks, it will become sticky and is a mess to take
up. Try to order your spike tape ahead of schedule.

o Note: Spike Tape is NOT the same as duct tape.

· Drill

This is optional, but modern drills are smaller and often lighter than what your father probably had in the garage. Get a battery-operated
flexible drill. (You just never know what you’ll have to do as SM.)

Radio Show: "Auditioning for College" - Feb. 3 @ 11a EST / 10a CST

2011-01-26T01:23:22.000Z

"Musical Theatre Talk with Trish Causey" presents "Auditioning for College."

On Thursday, February 3rd, at 11 a.m. EST/10:00 a.m. CST, I will interview Halley Shefler, of Arts Edge, on the topic of "Auditioning for College." This show will be of interest to students going into the performing arts: drama, voice, band/orchestra, piano, guitar, dance, etc.

This show will be live and can be played in class via the teacher's computer/internet service. The students could even ask questions by calling in or typing them in the ChatRoom.

Please forward this notice to teachers who teach high school or private performing arts classes/lessons.

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AUDITIONING FOR COLLEGE:

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Halley Shefler of Arts Edge offers advice on how to prep for that all-important college audition. High school students will definitely want to check out this interview (but don't cut class to do it {:-). Tune in Feb. 3 @ 11a EST / 10a CST.

Listen LIVE:

Online: http://www.blogtalkradio.com/musicaltheatretalk

Or Call: 347-237-5224

Ask questions via the chat room or call-in.

REPLAYS:

http://www.MusicalTheatretalk.com/

# # #

Basic Stage Manager Tools - Clothes

2011-01-24T17:00:00.000Z

To follow-up with "Stage Managing 101" and "Basic SM Duties," here is Part III in my series: "Basic Stage Manager Tools - Clothes." Be sure to read my follow-up articles on "Basic SM Tools: Fix-It Shop" and "Basic SM Tools: Office Supplies."

The Stage Manager (SM) job is very left-brain, i.e., logical, calm, cool, and collected, but a good Stage Manager is equal parts being organized and being prepared. And being prepared for your SM job begins with what you put on before you leave the house.

Clothes

Ideally, the SM stays put in the tech booth or at the SM podium, but non-union SM's often don't have that luxury. Sometimes the SM has to do double-duty as a stagehand on amateur or college shows or productions operating with a skeleton crew. So, just to be safe, you may want to dress like your crew.

Work pants: Keep your yoga pants for yoga. Being an SM means wearing work pants. Jeans are a staple amongst techies, but I recommend EMS/EMT/Tactical pants. This kind of pant worn by emergency service personnel, such as Fire Fighters and Paramedics/EMT's, are perfect because they are made to be worn in tough conditions; plus, they have utility pockets for knives, scissors, and other small portables.

This type of pant also has special features such as a double-layer of fabric in the inner thighs, a tunnel waistband, and Teflon coating to prevent stains. You can also get these pants with knee pads, which is great if you ever have to spend long stretches in a cramped space or crawling under set pieces.

Belt: Like jeans, EMS pants accommodate a belt which will be crucial once you're in the theatre. A good quality leather belt will support all the things you'll soon have hanging off of it, such as your headset.

T-shirt: In rehearsal, there isn't usually a dress code, so wear something comfortable but professional. T-shirts definitely fit the bill. You will also want to have a button-up shirt or light sweater handy for temperature fluctuations. You can get chilly while sitting in rehearsal but warm up when you're running around during breaks and setting up for or striking rehearsal. Once you're moved in at the theatre, add a sweatshirt or thicker sweater to your gear because theatres tend to be cold.

At the theatre, your IATSE crew will wear black tees with the union logo, but you and the rest of your techies should also wear black t-shirts with no visible logo or words. (Side note: Stagehands and ASM's who must be on the stage at some point should wear long-sleeve black t-shirts.)

Undergarments: Keep all your personal parts athletically supported at all times -- guys AND gals. 'Nuff said.

Boots: Of course, you can wear tennis shoes, but many techies wear steel-toed boots since they handle heavy or awkward set pieces and work in dark spaces where visibility may be low. Think, "Safety first."

Gloves: (Note: Though gloves should be in your SM gear/toolbox, I'm listing them here because they are worn on your person.) Less needed for everyday rehearsals, gloves become more necessary once you're in the theatre. More for the tech crew, the SM should also have a pair of stagehand gloves, and you can choose between full gloves or fingerless. The gloves protect your hands when handling set pieces and hot lights. (Side note: they also hide the skin for stagehands and ASM's who must be on the stage for a scene change or move a set-piece during a scene as inconspicuously as possible.)

Spare clothes: Keep a spare set of clothes in your SM office or tech booth. Whether you got caught in the rain, smeared oil on yourself while lubricating the casters of a moving set-piece, or just dripped sauce from your lunch-break pizza, have an extra set of clothes on hand. If you don't have an office, keep your spare clothes in a backpack or storage container that is out of they way in your booth or near your podium.

Black: Make this your new favorite color and invest in quality black work clothes and footwear, even black socks (if wearing tennis shoes). As a part of the crew, you'll wear black a lot. As the SM, you should be in your booth or at your podium at all times, but your crew should be completely decked out in black if they are backstage or on stage during the show at any time. This can include a black ski cap or baseball cap to cover light-colored hair.

Tips:

Make sure any necessary personal accessories such as a watch or hair rubberbands are not too reflective. If you're working an amateur or university SM job, then dress like your stagehands because you just may have to jump into the fray to lend a hand.

Wrapping Up:

Wear work clothes and footwear with safety and protection in mind.
Think ahead for how your clothes need to function when you're in the theatre.
Keep a set of spare clothes on hand.

Next article: "Basic Stage Manager Tools: The Stuff You Need"...

trish

Basic Stage Managing Duties

2011-01-17T12:00:00.000Z

Stage Manager duties vary from production to production, as I discussed in Part I of this trilogy, “Stage Managing 101.” Though the Producer and Director may be more hands-on in the early stages of the production, it is the Stage Manager who runs rehearsals and runs the show. The Stage Manager ensures that the Director’s vision is maintained long after the Director has moved on to another show.

Basic Stage Manager (SM) duties:

Assist the Director in running rehearsals.
- I once had a Director tell me that I ran the rehearsals so he could be just another artist doing his job. I have approached every SM job that way ever since.

Set-up/strike rehearsal space.
- This is hardest when renting space or using a multi-purpose space. The ideal is to rent a theatre or space where you can set-up, tape the floor, and leave it.
- Setting up can include bringing out tables and chairs before every rehearsal and putting them back in the evening, or even re-taping the floor every morning before rehearsal and pulling it up at the end of the day.
- Set out a prop table with rehearsal props so the actors get used to getting (and putting back) their props. This will get you accustomed to any necessary pre-sets, plus you can make a list for the Props department of props that need to be repaired or replaced on a regular basis.

Maintain the schedule.
- The schedule may be laid out by the Director and/or Producer, but the SM maintains the schedule to notify the Cast of changes in rehearsal times, days, and what will be rehearsed so they know their lines and/or songs.
- Begin and end rehearsals on time, especially if an Equity actor is involved.
- Ensure union actors and union techs/stagehands are getting their breaks as required by their contracts.
  - I once had an Equity actor complain to Equity that he (and the other Equity actors) were being shorted on their allotted breaks. The union rep requested my notes, and it showed that their 10-minute breaks were in fact allotted, and the specific break in question had actually been 11 minutes. The actor only did this because he hated the micro-managing producer. But it proved the true value of my anal-retentive note-taking — if it were proven that the union actors had not been getting their required breaks, the producing company can be fined a non-compliance fee and/or suspended from hiring Equity actors for a certain length of time.

Maintain a central communication bulletin board.
- A central location, such as the Green Room or the main hallway backstage, should be established for posting the schedule and any communications to the whole Cast. If actors are required to sign in and out, put the sign-in/out clipboard by the central communications bulletin board.
- A different location might or might not be set for such information for the Tech Crew, such as the Tech Office or House Stage Manager’s Office — each show and set-up are different.

Keep detailed notes about each rehearsal.
- Take down blocking for every scene.
  - For musicals, the SM is not usually required to write down choreography. That is the job of the Choreographer, who is usually assisted by a Dance Captain.
- Keep track of props needed in each scene, especially for pre-sets. Even with a Props person, the SM needs a list of what is used, when.
- See note above about maintaining the schedule and taking copious notes.

Create Cue Lists.
- You can create Master Cue Sheets as well as Cue Sheets for the individual department, i.e., Lights, Sound, Scene Changes, Backstage Left, Backstage Right, etc. It all depends on what is expected of the SM job. I like doing the Cue Sheets, personally, because it makes me check my own notes and cues.
  - For a casino revue, the Lighting guy was using a Hog to operate the fancy, moving stage lights. He didn’t want a Cue Sheet because everything was “saved” in the Hog. Right before dinner break the day before we were supposed to open, the Hog crashed, and all the cues were lost. I quietly handed him his Cue Sheet(s), and he spent his dinner break re-programming the 400+ cues before rehearsal resumed that evening.

Write up reports for Department heads.
- As needed: Director — daily; all others: Set Designer, Wardrobe, Props, etc. — as needed to convey information from the Director.
- Notes from the Producer are usually handled by a Production Manager or Production Assistant.

Handle complaints.
- Some shows have a Production Manager or a Company Manager to handle complaints and the general coddling of the Cast.

Resolve problems before they have a chance to start.
- Easier said than done sometimes, the problem may not even really be your "department," yet you're the one who has to resolve it.
  - Once, an actor really wanted to have a rehearsal tea set to rehearsal with. I called the Props Mistress, and she said she couldn't make it over to rehearsal that day. So I spent my lunch hour in the toy section of Wal-mart hunting down a tea set so the actor could have it in rehearsal when we came back.

Oversee the Tech Crew.
- The SM may oversee Load-In and Load-Out at the theatre. Even if union Techs run Load-In/Load-Out, you might want to be around to start setting up your SM office, the Tech Booth, hanging schedules, notices, etc. — assuming this is not taking place during a rehearsal.

Run Tech rehearsals on the stage.
- This process can be slow. Do not feel bad about actors whining that it’s taking too long, or wanting to leave the stage to rehearse in their dressing room. Professionals won’t whine (too much). This is a natural growing pain of actually getting the show on the stage. If you happen to be working with a celebrity or if an actor is ill, a stand-in or understudy may be asked to participate in the tedious Hang and Focus or early Tech run-thrus.
- Do not be afraid to stop the rehearsal if you need to check something, re-do something, or re-run something a few times to get it right. If you see that you’re spending too much time on one thing, tell the Tech crew over the your headset that you will work with them on it at a later time, and get the rehearsal moving again. But remember, the TECH rehearsal is for the TECH crew. Do what you need to do.

Ensure the safety of all persons, Cast and Crew.
- On a union show, one of the union actors and one of the union Techs are chosen to be the Union Rep for the production. Part of their job is to ensure the production is being conducted according to union rules, including safety regulations.

Call the show.
- This is when it all comes together. The first couple of shows notwithstanding, calling a show should be like riding a luxury car at high speed on cruise control.
- You can give "half-hour," "15-minutes," and "places" calls, but that is best done by an Assistant Stage Manager or a Production Assistant. You do not need to run around the backstage area when you could be focusing on any last-minute details with your Crew. For union shows, actors may not be required to be at the theatre until "half-hour." Ideally, your ASM can make the calls, and/or an intercom system will be in place, so no one has to run anywhere.

Maintain the “Bible.”
- This is the single most important item a Stage Manager has. The Bible includes the script (or score), blocking, cue sheets, prop lists, assignments of duties for the backstage and Tech Crew, prop list, any and all notes, schedules, copies of notices for the cast, copies of complaints and follow-ups, and detailed reports.

"Extra" duties That May Be Asked of a Stage Manager

This brings us to the point of those little “extras” that are often performed by an SM but are not part of the job.

Making Coffee — I don’t drink it, so I don’t make it.
- I am usually the lone female on a production team (occasional exceptions being the Costumer or the Props Mistress, but neither is in rehearsal on a daily basis with me). Therefore, making the coffee brings up all sorts of sexist connotations: me being the subservient maid while the good ol’ boys on the production team make professional decisions regarding the show. Won't do it.

Buying Doughnuts — I don’t like sugary foods in the rehearsal space:
1. Sticky fingers make for sticky scripts and sticky props.
2. The sugar rush, then crash, filling up on more doughnuts during break for another rush and crash before lunch, makes for long mornings.
3. Someone would have to buy them before the 10 a.m. rehearsal, and that would probably be me who has to arrive before 9:00 a.m. to set up the rehearsal space before the director arrives to go over notes at 9:30 a.m., and I have enough to do that actually pertains to my job as SM without adding superfluous errands, so please see my comments above about being a subservient maid.

Personal Errands — "What part of STAGE Manager did he not understand?!"
- I don’t get anyone’s dry-cleaning or pick their kids up from school. That is just unprofessional. And female SM’s are more likely to be asked to do these things than a male SM because they figure a female won’t say, “No” (i.e., the assumption that at all females suffer from the “pleaser” syndrome).
  - When I started out as SM of a repertory company, I did do these things for the producer — I wanted to keep my SM job — until trying to fit it all in on top of my real SM duties was just too much. Luckily, the director had been an Equity SM, and he taught me the ropes of being a professional Stage Manager.
Note: With that, my loyalty is with the Director, and if the Director asked me to do something, I would try to do it especially if the Director is from out of town or doesn’t have a vehicle or a driver’s license. I am there to help the Director until he turns the show over to me in "Hell week"... Other Producers and less professional Directors who tried to “talk” me into doing personal errands were sorely disappointed.

If you find you are being asked to do these types of things, especially if you’re a female SM of a non-union show, let the producer know what is happening and inform him that is most definitely not a part of your job. If it is the producer treating you like a gopher, remind him that you were hired to be the Stage Manager, your domain is the Stage, and you must focus on that.

Wrapping Up

If you have the chance to be an Assistant Stage Manager, by all means, get your feet wet before you’re thrown into the deep end of being responsible for the whole show as a full Stage Manager. Believe it or not, Stage Managing is pretty awesome, especially if you are a well-organized, detail-oriented person who can calm the chaos around you. (An experienced Stage Manager won’t let the chaos begin in the first place.)

Differences do exist between union and non-union productions, among the various kinds of professional (paid) shows, and all manner of theatre from legit stage shows, to events, cabaret, and dinner theatre. But knowing what is expected of you from the outset will make for a smoother job down the line.

If you’re new at this, tell your Director you’re new; after all, we all start somewhere. Chances are he will take you under his wing and mentor you while allowing you to find your footing.

TIPS:

Know your duties.
Be organized.
Take copious notes.
Try to enjoy the process. Calling the show is the “gravy.”

Next Article: “Stage Manager’s Tools”

Stage Managing 101

2011-01-15T21:30:00.000Z

This begins a 5-part series on the job of the Stage Manager, considered by many as the most important role in a production. Follow-up articles: "Basic SM Duties," and "Basic SM Tools: Clothes," and "Basic SM Tools: Fix-It Shop."

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Stage Managing 101

The job of the Stage Manager is a complex subject because there is no one codified set of guidelines that defines all the job duties of a Stage Manager in all the various performing arts genres. Add to that the numerous levels of productions from amateur/community theatre, to university, semi-professional, and even the multitude of options within professional (paid) theatre. In some ways, you're on your own.

Stage Manager’s Domain

The duties of the Stage Manager involve whatever happens on the stage and the backstage area, and can include the dressing rooms and Green Room. Even if your Tech Booth is in the balcony of the theatre, you are not responsible for the space between the lip of the stage and your booth; the House Manager handles the House.

The dream Stage Manager gig is the one ruled by a union contract. Any other job is a complete unknown in terms of what will be expected of you as the Stage Manager and the conditions surrounding the production.

Rule #1

The first thing to do when being hired as a Stage Manager is to ask for a list of duties or proposed duties from the person in charge. This might be a Producer, a Director, or a Professor, depending upon the producing organization. Books on the subject can help guide you, but get your specific duties from the person signing your paycheck or giving you your grade.

Regardless of the setting and who’s running the production, you should have a firm knowledge of what is expected of a professional Stage Manager (SM), even if you are still at the community theatre or university level. Why? Because you can’t make a living SM’ing for free. And if you’re good at running the show, you might want to pursue it down the road. Also, knowing this aspect of production will make you a better Director or even a better Writer (to learn how a show goes together). Consider this “putting on the training wheels.”

A great general reference of what is expected of an SM is contained within the agreement that Actor’s Equity Association puts forth for SM job duties and the Stage Manager Packet. Equity, as it is known, is the union for actors and Stage Managers. The union for the Techs (stagehands) is IATSE. These Equity documents cover everything from reports for a work-related injury to posts for juvenile actors, from proper use of theatrical firearms to earthquake preparedness. As the Stage manager, you must be ready to handle anything.

Professional vs. Amateur SM Jobs

In professional theatre, a Stage Manager might be on site to assist the director from pre-production and the auditions, through the rehearsal process, the performances, and in the wrap-up of post-production. In amateur/community theatre, many of the job duties a professional SM would handle might be performed by the Director, with the show’s SM not even being present until the last week of rehearsals. A university SM gig may be a mix of the two, with the instructor divvying up duties to spread the workload out across several students who need to participate to make a grade.

A professional (paid) but non-union SM job could be similar to a union job, but without the protection of the union contract, there’s no telling what you might be hoodwinked into doing outside of your SM duties. Paid, non-union productions might include repertory theatre, regional touring companies, cruise ships, regional theme parks, festivals, and the dreaded dinner theatre. These paid jobs are more plentiful than the Equity jobs, so don’t turn your nose up at them. Just know what you’re getting into, and refer to Rule #1 (see above).

Crossing the (Production SM) Line

If you find yourself doing things like calling the water bottle people to bring another 5-gallon jug, or ordering food or buying plastic plates for the “craft services” table, hanging the poster in the marquee outside the theatre, or getting the producer’s tux from the dry cleaner’s for the Opening Night performance (because as the SM, you have nothing better to do on the day of Opening Night) — on top of running rehearsals, running the tech crew, and calling the show — you’re veering into Production Stage Manager world…. This is fine… as long as:

You are comfortable doing it,
You are credited as such, but most importantly,
Your main function as the Stage Manager is not hindered by these extra duties.

If a Producer asked me to do any of that (and they have), I would say (nicely), “No.” But I would be sure to recommend someone standing around who could do it.

Wrapping Up

The duties of the Stage Manager are not set in stone, and you will find what works best for you in each assignment. Know what is expected of you as the Stage Manager, work closely with your Director, and be very organized.

Next Article: “Basic Stage Manager Duties”

Choosing an Audition Song

2011-01-03T07:30:00.000Z

Since it's Musical Monday, let's start the day off with some tips on how to choose a song for an audition. The song must be a perfect fit from the moment you open your mouth to the last sound wave of the big money note. With college and summer stock auditions coming up, now's a great time to pick repertoire to land those scholarships and gigs.

Choose a song that is:

1. A Solo ~ For a solo audition, never sing a song that was written as a duet, trio, or chorus number. Even if you really love the song, already have the sheet music, and have it memorized, pick a different song. I guarantee there is at least one other great song in the Musical Theatre canon.

2. Not from the Show ~ Never sing from the show unless the audition notice specifically says you should. Sing a song that is very similar to the songs sung by the character you want to get. The director may have a different take on the character that you don't know about, and singing a song from the show may appear as if you're "set in your ways" ... or at least, set in singing it like the singer on the cast album. The last thing you want is to seem inflexible or undirectable.

3. Within Your Age Range and Life Experience ~ A teenager probably would not have the life experience to sing about doomed romance or the travails of war, so don't pretend. You won't impress a director by trying to sing older for your age. Likewise, a 50 year-old woman can't pass for the innocent maiden, either. Roles are usually stereotyped into certain voice types, and certain age ranges evoke certain types of characters: young female = lyric, light soprano, ingenue; older, experienced female = belter, "other woman," trouble-maker; tenor = earnest, romantic lead; bass = older man, sage, bad guy.

4. Within Your Vocal Range and Training ~ Many singers today do not transpose songs -- "sing it as written, or sing something else" is the usual mantra, though transposing was frequently done in the days of old (before 1950, so I'm told). Therefore, if you're a baritone, the high notes of West Side Story's "Maria" are probably too high, while the belted showtune, "Blow, Gabriel, Blow" from Anything Goes, would not sound right coming from a classically-trained soprano.

With famous roles, the written high (and low) notes are usually well-known: "Christine" in Phantom of the Opera has to sing a High C; "Mary Sunshine" from Chicago is a male counter-tenor role that goes up to a High E, while the title role in Kiss of the Spider Woman requires the woman to sing an octave below Middle C. Also, the Musical Director just might ask you the vocal range of the song, or what is the highest note you can hit; you need to know those answers (i.e., your highest legit note will be different from your highest belt note). So stay in your genre and vocal range. If you want to expand either, do so many months before an audition. Do not use an audition as your time to prove this new road you want to travel.

5. A Shortened Version of the Song ~ Keep your song between 90 seconds and 2 minutes if there is no time limit or bar length mentioned in the audition notice: i.e., "Prepare 60 seconds or 16 bars of a song." Sing a verse, the bridge, a chorus, the last verse, and the tag. Skip any recitative or multiple verses. You want to leave them wanting more from you. Pull 'em in, dazzle them with your range and versatility, then wow them with the money note. Sweet and simple.

Save the full songs for the callback. You should have 8 to 10 full songs that you can sing at a moment's notice for just such an occasion. And forget about buying those "16-bar" books. Just because a songbook editor picked those 16 bars for a song doesn't mean those are the "right" 16 bars for your voice.

TIPS:

Follow the guidelines of the audition notice to the letter.
Sing the song as directed, whether that means singing a cappella or buying sheet music for an accompanist to play for you. Using a CD is usually acceptable, but again, check the audition notice.
And even though you may have a zillion songs on your iThingie, that doesn't mean the audition/production team will have the necessary cables and/or wires to hook-up your gadget to theirs. If they say bring a CD with your music on it, then just bring a CD (ancient technology that it is).

Happy auditioning!

trish

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Trish Causey

writer * composer * vocal talent

http://theater.about.com

http://www.MusicalTheatreTalk.com

http://www.TrishCausey.com

Vocal Health During the Winter Months

2010-12-27T16:09:43.000Z

Vocal health is a crucial topic for anyone who makes their living with their voice. From actors and singers, to teachers and lawyers --- our voice is our livelihood. Be mindful of the following tips to protect your pipes, especially during the winter months.

1) The MOST important thing to remember is NEVER clear your throat. Ever! Slamming the vocal folds together with the force of air coming from the lungs causes immediate damage to the folds that increases over time. Clearing the throat can lead to nodes, polyps, and scar tissue on the vocal ligaments and folds or even hemorrhages within the vocal fold muscles themselves.

When mucus and phlegm clog your throat, eat or drink something acidic to cut through, such as pineapple, lemonade, or even strawberries (yes, soft drinks are acidic, but see #2 below). Sing or talk through the gunk. It won't sound pretty, but your vocal folds will be much better off for the long-term. "Throat Coat" is a preferred choice amongst singers for a soothing tea.

2) "Water, water everywhere" ... Hydration is a must for the voice and its subsystems, even in the winter months. The human body is 70% to 80% water. Caffeinated drinks, salty foods, and not drinking enough fluids to begin with are all causes of dehydration. Certain medications (prescription and over the counter) can also dehydrate you, as can mild and severe acid reflux. Walking outside in windy weather can also dry you out quickly. Get your water by eating lots of fresh veggies and fruits, and keep a room temperature bottle of water with you at all times.

3) Wear a scarf to keep the throat and neck warm. The muscles in the neck surround the larynx which houses the vocal folds. Sudden cold temperatures or walking in cold weather without a scarf causes the body to hunch in an effort to keep warm. The muscles in the neck can likewise "squeeze" inward, hence their name of "constrictor muscles." Wearing a scarf also gives you that extra bit of fabric to bring up over your mouth and nose, which warms the air before it reaches your pharynx (throat) or lungs.

4) Rest! Get plenty of rest by sleeping at least seven hours each night. The muscle systems that allow phonation (sound production) are just like every other muscle group: they need rest and recovery after a workout. Yoga and meditation also benefit the mind and body with their restorative powers. A 15-minute nap in the middle of the day can do wonders for giving you the energy you need to finish your day strong --- which just might make for a better night's sleep.

Stay safe and warm during these cold winter months! If you have any questions, just leave them below.

That's a wrap. Take care!

trish

Taking Requests!

2010-12-23T15:19:38.000Z

Hey, everybody!

I sat down to write my first official blog post for TheatreFace.com, but I had too many ideas come to mind --- "How to Protect the Voice During Cold Months," "College Audition Prep" (lots of colleges have auditions in the Spring), or maybe "How to Stay Sane When the Show is Going Crazy." But I can't decide!

If you have a specific question or situation you'd like me to address, please let me know! The TheatreFace.com community is a great group of people, and I'm really looking forward to writing here on TheatreFace.com.

Break a leg!

trish

Intro & Bio

2010-12-18T01:30:00.000Z

Hi, everybody!

My name is Trish Causey, and I will be writing about Performing, Stage Management, Vocal Training, and Audition Techniques.

BIO:

Trish Causey is a multi-faceted performing and creative artist. Currently, she is the Theatre Guide for About.com, a New York Times company. Trish is a professional Production Stage Manager of Theatre, Opera, and Ballet, and teaches Voice, Scene Study, and Audition workshops. She has performed in international competition and had her work presented at international conferences. In 2008, Trish earned $9,000 in grants for Music Composition, listing on her state’s Artist Roster, and South Arts’ Artist Registry. Her show, “Musical Theatre Talk,” features Broadway stars and creative teams. Trish's vocal training CD and theatre book are due out in 2011.

Break a leg!

trish

LINDA EDER on MTT - Fri 04/16 @ 11a EDT

2010-04-13T20:03:37.000Z

Singing sensation Linda Eder will be on "Musical Theatre Talk with Trish Causey" this Friday, April 16, at 11 a.m. EDT/ 10 a.m. CDT.

Linda began her career winning Star Search for 12 weeks straight, then played the role of Lucy in Frank Wildhorn's JEKYLL & HYDE. She has performed concerts around the world and released several CD's featuring standards and new classics.

To listen live, go to http://www.blogtalkradio.com/musical_theatre_talk or call 347-237-5224.

For more information on shows, guests, updates, and replays, go to the MTT website: http://www.musicaltheatretalk.com

Frank Wildhorn, Ken Davenport, & Stephen Cole on MTT in April!

2010-04-05T19:48:07.000Z

"Musical Theatre Talk with Trish Causey" presents:

APRIL'S SHOWS:

~ 04/08 - "Technology & Vocal Training" - Dr. Kim Steinhauer, 11 am EDT

~ 04/09 - "Frank Wildhorn" - composer of JEKYLL & HYDE, SCARLET PIMPERNEL, & WONDERLAND and many other shows - 1 pm EDT

~ 04/11 - "Stephen Cole" - award-winning librettist/lyricist, winner of coveted Kleban award - 5 pm EDT

~ 04/15 - "Broadway Cast Albums" - Sony Masterworks Broadway launches new site with archival albums and photos of iconic recording sessions - 11 am EDT

~ 04/22 - "The Producer's Job" - Broadway producers Ken Davenport & Ruben Brache - 11 am EDT

Other topics in April: the Lortel Awards and composer Bryan Putnam!

To listen live online: http://bit.ly/5kkhRz or call in: 347-237-5224.

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Follow on Facebook: http://www.facebook.com/pages/Musical-Theatre-Talk-w-Trish-Causey/67215713625

Follow on Twttier: http://www.twitter.com/MusicalTheatreT

Subscribe on YouTube: http://www.youtube.com/MusicalTrish

MTT Guests: Bway star LAUREN KENNEDY & Dr. Kim Steinhauer

2010-03-31T17:38:36.000Z

"Musical Theatre Talk with Trish Causey" presents:

~ 4/1 -- Broadway star LAUREN KENNEDY -- 11 am EDT/ 10 am CDT

~ 4/8 -- "Technology & Vocal Training" with Dr. Kimberly Steinhauer -- 11 am EDT/ 10 am CDT

Listen live on your computer: http://www.blogtalkradio.com/musical_theatre_talk. Or listen on your phone: 347-237-5224.

Replays, bios, blogs, and voice info available on http://www.MusicalTheatreTalk.com

MTT on Fb - http://www.facebook.com/pages/Musical-Theatre-Talk-w-Trish-Causey/67215713625
MTT's blog - http://www.MusicalTheatreTalk.blogspot.com
Trish Causey - http://www.facebook.com/trishcausey

RECENT GUESTS:
*** Betty Buckley *** Merwin Foard *** Christiane Noll *** Lucie Arnaz *** Clare Burt *** SteveOnBroadway *** Klea Blackhurst *** David Kirshenbaum *** Alexandra Silber *** Eric Arceneaux *** Jeannette LoVetri *** Joanna Cazden *** Bob Marks *** the cast of YANK! A WORLD WAR II LOVE STORY ***

RECENT SHOWS:
*** Yoga for Singers *** How To Belt 201 *** Ear-Nose-Throat Issues for Singers *** Breath Support Issues *** Contemporary Singing Styles in Musical Theatre *** Musical Theatre vs. Opera *** New Musicals ***

BWAY: Betty Buckley on MTT, Feb 11 @ 10:30 a.m. EST

2010-02-10T03:30:36.000Z

Broadway & TV star, BETTY BUCKLEY, will be on "Musical Theatre Talk" Thurs Feb 11, 10:30 am EST. Listen live: http://bit.ly/5kkhRz, or call in and ask questions: 347-237-5224.

Replay: http://www.MusicalTheatreTalk.com

UPCOMING SHOWS -- "Unique Voices," "STOMP," & "The American Theatre Wing"

2009-11-21T23:04:11.000Z

REPLAY of "How To Belt 201" with Bob Marks & Jeanie LoVetri is still up! http://www.MusicalTheatreTalk.com

UPCOMING GUESTS:-- Wynn Creasy & Jay Rogers: "Unique Voices," SUNDAY, Nov. 22, @ 5 pm EST/ 4 pm CST.
-- Fiona Wilkes & Jason Mills from "STOMP," MONDAY, Nov. 23 @ 2 pm EST/ 1 pm CST.
-- Joanna Cazden & Starr Cookman: "Vocal Disorders," SUNDAY, Dec. 6 @ 5 pm EST/ 4 pm CST
-- Howard Sherman & Lucie Arnaz: "American Theatre Wing," SUNDAY, Dec. 20, @ 5 pm EST/ 4 pm CST.

To listen live on BlogTalkRadio: http://bit.ly/5kkhRz or Call in: (347) 237-5224

http://www.blogtalkradio.com/musical_theatre_talk

"How To Belt 201" REPLAY online now!

2009-11-16T04:27:14.000Z

"Musical Theatre Talk with Trish Causey" presents:

"How To Belt 201", REPLAY is online now! --- GUESTS: Vocal pedagogists Bob Marks and Jeanie LoVetri.

UPCOMING:
~~ Nov. 22 - "Unique Voices: Character Roles & Cabaret Crossovers" with Jay Rogers & Wynn Creasy
~~ Dec. 6 - "Vocal Disorders" with Joanna Cazden

MORE INFO and link Facebook, go to: http://www.MusicalTheatreTalk.com

Become a Follower of the MTT blog for news, Bway show reviews, and Audition postings: http://musicaltheatretalk.blogspot.com/

trish causey
creator and host of "Musical Theatre Talk with Trish Causey"

"Male Vocal Training", SUNDAY, 11-08-09, 5 pm EST/ 4 pm CST

2009-11-08T02:26:08.000Z

"Musical Theatre Talk with Trish Causey" presents:

"Male Vocal Training", SUNDAY, 11-08-09, 5 pm EST/ 4 pm CST

GUESTS: Vocal Coaches Phil Hall (tenor) and Dean Bellais (bari-bass) unravel the mystery of the male singing voice, discuss fachs, training, repertoire, trouble-spots, and offer advice for hitting the "money notes" (low and high).

To listen live: http://www.blogtalkradio.com/Musical_Theatre_Talk
To call in with a question or listen on your phone: (347) 237-5224

MORE INFO ON UPCOMING SHOWS or hear the latest show, "Theatre Reviewers: What Are They Looking For Anyway?", go to the website: http://www.MusicalTheatreTalk.com

For more articles on MTT and Broadway happenings, go to the blog: http://musicaltheatretalk.blogspot.com/

trish causey
creator and host of "Musical Theatre Talk with Trish Causey"

NEW SEASON of "Musical Theatre Talk' started today!

2009-10-26T05:07:58.000Z

AWESOME DAY
I had an AWESOME DAY!!! Started the morning having coffee with a friend -- one of my upcoming guests, Jay Rogers. An hour and a half at the cafe` of Barnes & Noble flew by. He's such a wonderful guy!

I hated to leave, but had to prep for the Season 2 opener of my radio show this afternoon: "Musical Theatre vs Opera: Round 2" at 5 pm/4 pm http://bit.ly/nijjO (347) 237-5224. My guests included Jeff Mattsey, Met Opera star, Merwin Foard, veteran Broadway star, and Elizabeth Grayson, sought-after soprano for both musical theatre and opera.

So I did my musical theatre radio show, and I feel incredible after spending the whole day talking musical theatre shop. Every day should be this fulfilling!!!!!!!!

WEBSITE UPDATED!
My website now has Facebook & Twitter feeds AND the recordings from the first 2 shows: "Premiere Show" & "Vocal Training: Do I Really Have To?" (scroll down to the bottom)...

NEXT SHOW
Nov. 1st -- "Theatre Reviewers: What Are They Looking For Anyway?" with Mark Newman and StevenOnBroadway!

http://www.MusicalTheatreTalk.com

Take care!
trish

"Musical Theatre Talk" is Back! Oct. 25th!

2009-10-05T17:53:13.000Z

Musical Theatre Talk w/ Trish Causey
To join the Facebook page: http://www.facebook.com/pages/Musical-Theatre-Talk-w-Trish-Causey/67215713625?ref=ts
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UPCOMING SHOWS!
The 2nd season of "Musical Theatre Talk with Trish Causey" will soon start and continue the amazingly fantabulous immersion into Musical Theatre. While I am currently in talks with several of the new shows on Broadway (for their creative teams/casts to come on the show), I will bring you individual artists & coaches with decades of experience in "the biz".

OCT. 25 -- "Musical Theatre vs. Opera: Round 2" -- MERWIN FOARD (Broadway veteran), JEFF MATTSEY (Metropolitan Opera star), & ELIZABETH GRAYSON (Broadway Tour & Opera star)

NOV. 1 -- "Theatre Reviewers: What Are They Looking For Anyway?" -- MARK NEWMAN (former NYC theatre critic for 15 years) & STEVE LOUCKS a.k.a. SteveOnBroadway (NYC theatre blogger of 70 shows per year)

NOV. 8 -- "Male Vocal Training" -- PHIL HALL (NYC Broadway vocal coach) & DEAN BELLAIS (Musical Theatre & Opera singer/vocal coach)

NOV. 15 -- "How to Belt 201: The Art & Science of Belting" -- BOB MARKS (NYC Broadway vocal coach) & JEANIE LoVETRI (renown vocal coach and pedagogist)

DATE TBA -- Popular Music in Musical Theatre: Gospel & Rock" -- CHAPMAN ROBERTS (Broadway veteran who is set to receive the first-ever Doctorate of Music in Gospel) & (Broadway show creative team TBA)

DATE TBA -- "Unique Voices: Character Roles & Cabaret Crossovers" -- WYNN CREASY (Opera Contralto & award-winning Cabaret performer)

DATE TBA -- "New Musicals: The Road to Broadway" -- Creative Team from NYMF favorite, STREET LIGHTS

NEW DAY & TIME: Sundays at 4 p.m. CENTRAL time. To my listeners in Canada, Europe, Australia, and Korea, please check time tables to see when the show airs live in your neck o' the woods. Of course, if you happen to miss the live show, you can hear it online afterward (usually within a day) at the website: http://www.MusicalTheatreTalk.com

To listen online: http://www.blogtalkradio.com/Musical_Theatre_Talk

To call in with a question: (347) 237-5224

Questions can be emailed prior to the show: TrishCausey @ gmail.com, or emailed over Facebook. Put "Question for MTT show" in the subject header.

~~ Spread the word on your website, in your newsletters, and via Twitter/Facebook updates! ~~ Forward the page link at the top to all your friends on (and off) Facebook! ~~

Thanks!
trish

"Arts & the Economy" - April 22 @ 8 pm CDT/ 9 pm EDT

2009-04-19T03:48:33.000Z

"Musical Theatre Talk with Trish Causey"
on BlogTalkRadio
http://www.MusicalTheatreTalk.com

NEXT SHOW:
"Arts & the Economy": ALL ARTS genres, not just Musical Theatre!
Wednesday - April 22 @ 8 p.m. CDT/ 9 p.m. EDT
GUESTS include Heather Pray - Houston Downtown Alliance, Malcolm White - MS Arts Commission, and Gerri Combs - Southern Arts Federation.

SHOWS in MAY:
"How to Belt 101" with Lisa Popeil
"National Tours: Living the Gypsy Life" with Shayna Steele
"Musicians: Living in the Pits" with George Mason
"American Recovery & Reinvestment Act of 2009 - Explained" with Mark McCrary

http://www.MusicalTheatreTalk.com

WOO-HOO! "Musical Theatre vs. Opera" a GREAT SUCCESS

2009-04-17T14:24:48.000Z

Last night's show, "Musical Theatre vs. Opera: Double-dipping Between the Two", was a HUGE SUCCESS. The Guests were amazing!

GUESTS:
Frank Young - Theatre Under the Stars (TUTS)
Dean Bellais - Bass-Baritone
Elizabeth Grayson - Soprano

Unfortunately, Jim Schaeffer, with the Center for Contemporary Opera, was unable to make the show due to a delayed flight out of JFK. But I will have him back on in the near future. He is really a great guy and was looking forward to doing the show.

Have listen to last night's show!! http://www.musicaltheatretalk.com/

MORE INFO:
Check out the website for info on upcoming shows, the Guests, to hear the last show, and more!

Spread the word! Thanks!
trish

Musical Theatre vs. Opera - April 16th - 8 p.m. CDT/ 9 p.m. EDT

2009-04-16T02:55:32.000Z

Musical Theatre Talk with Trish Causey
on Blog Talk Radio

"Musical Theatre vs/ Opera: Double-dipping Between the Two"

GUESTS:
Jim Schaeffer - Center for Contemporary Opera
Frank Young - Theatre Under the Stars (TUTS)
Dean Bellais - Bass-Baritone
Elizabeth Grayson - Soprano

MORE INFO:
Check out the website for info on the number to call to ASK QUESTIONS, hear the last show ("Vocal Training: Do I really have to?"), and more!

http://www.musicaltheatretalk.com/

Spread the word!

trish