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[RonHebbard]

After thinking about the board op who calmly let the show go to H because the SM didn't call cues, I'm reminded of a cameraman I knew and with whom I occasionally worked. (This was a long time ago and I'm sure he's died by now, but even so in deference to his memory I won't use his real name. Let's call him Ed.) Ed was a very good cameraman. He knew every film's latitude and how to light a scene to take full advantage of it. He knew how to compose a perfectly balanced shot; sometimes better than the director who called it. His footage was always properly framed and exposed. He never to my knowledge called for additional takes at a half-stop more or less "just in case." But he would shoot exactly what the director called for. Many of us in the biz at the time, when asked what we thought of Ed's work, would say, "Ed is the kind of cameraman who, if asked to photograph a shot of a car for a TV commercial, would give you a perfect shot, including the used condom hanging from the radio antenna. But the condom would be perfectly exposed and in focus."

I'll hand it to you, @RonHebbard, for doing what was RIGHT for the show, regardless of the SM's failure to call the "GO."

@JonCarter Thank you. Stratford hired composers and musicians. They composed and performed music to suite the needs of the production of the moment including style and tempo changes to augment and compliment the production. The scene change without its music would have been pretty painful as many cast members depended upon hearing the music to time their moves, entrances and exits. Often lower level actors were positioned on stage to stand at attention with their lances, spears and shields, partially to set the tone of the scene but often to carry off tables and chairs used in the scene. The music was the glue that bound the scenes together and set the tempo of the changes. I'll shut up now.
Toodleoo!
Ron Hebbard.

 

[Dionysus]

@JonCarter Thank you. Stratford hired composers and musicians. They composed and performed music to suite the needs of the production of the moment including style and tempo changes to augment and compliment the production. The scene change without its music would have been pretty painful as many cast members depended upon hearing the music to time their moves, entrances and exits. Often lower level actors were positioned on stage to stand at attention with their lances, spears and shields, partially to set the tone of the scene but often to carry off tables and chairs used in the scene. The music was the glue that bound the scenes together and set the tempo of the changes. I'll shut up now.
Toodleoo!
Ron Hebbard.

Yes indeed. Would that not of gummed up the works, especially for the "fourth spearholder to the right".

"No go, no show." If your go is not called, you DON'T execute your cue. Speaking in her own defense, I was told there could have easily been extenuating circumstances beyond my knowledge and no time for further explanations on the SM's part.

Gotta both agree and disagree.

Yes in this instance technically you were in the wrong. But the SM should of added some comment in the report in my opinion.
In this kind of show yes, unless for some reason you shouldn't you should always GO when the SM says. Not before, Not after.
However not everyplace is Stratford.

Ive worked with plenty of SMs who are lets just say "inexperienced", especially in "community" and "sem-pro" shows; many of whom are volunteers themselves. They miss call cues all the time, and I am not afraid to jump in and either disregard or go without the "go" in the right circumstances. Especially when I am positive that there is no reason for the SM to of called it wrong (or not called it), other than the SMs inexperience, lack of focus, ability or attention. But generally YES, I STILL go when the SM says, especially early on in production. But if its closing night and the SM is distracted on her Cell phone and I know it, I'll go on the cue when I KNOW it happens.
Other than that, I GO ONLY when the SM says, and will either make a note to the SM (usually waiting first to deliver it to see if the SM makes a note themselves).

So generally Im just saying it depends LARGELY on environment and then also circumstances.
Especially if the lighting operator is the lighting DESIGNER.

@RonHebbard I guess I've never had the good fortune (or mis-fortune, depending on one's point of view) to have worked in such an organized "Big Time" operation. "Wrote me up"?? "Show report"?? Sounds like a bureaucrat with time on her hands to me--give her something to do! Every company I've ever worked with has been much more concerned with getting a good show to the audience.

IATSE 357, Canadian Actors Equity and PACT; Especially concerning the Stratford Festival of Canada, have a reputation for extreme greatness not to mention this exact thing.

A real story from the stage, very paraphrased but also second hand very long ago:

An ASM was working at a Stratford theatre (Equity Member), during the show when an actor was supposed to make an entrance and the IA props person was not anywhere to be found. After trying to find the props person backstage, and the actors entrance passing without a critical prop, the ASM reached onto the props table and handed the prop to the actor who made their entrance (I believe late). The props person who is the only person allowed to touch props on the props table or put them there (ONLY job backstage during the run is to hand props to the ASM or actors) returned. Was angry for "stealing their job". Wrote an official report about the ASM who faced penalization and revue and damaged career.
Thankfully the ASM continued to work there.
The revue decided the problem was minimal.

Yes this is a rule, and the ASM should NOT touch the props table AT ALL. But what about "the show must go on" or "we are all in this together". I don't mean to bash anyone or any organization, heck Id love to work at Stratford myself, it was a boyhood dream. Seriously not the organization, but yes the mentality Ive seen expressed by a few, and heard MANY horror stories about. But there is still a part of me that says that the ASM saved the props person's butt. Because if the ASM had not done that, the SM would of likely written a report that the Props person needs to remember to do their job (however not at all as damaging).

So Give and Take.

And Ron, I remember you asking... I don't think any of the XLR2 cue light stuff is still used or installed... Never see it, but also never look for it. I vaguely remember it.

 

[JonCarter]

Ah, yes, the problem with unions. (Or is it the problem with some union members?) Although I'm not now and never have been a union member I can understand the need for labor organization and and see the great benefits that unionization has brought to working people. But when the union rules ("YOU can't touch this item--that's MY job") and BS (wasting time writing, dealing with and responding to "official reports") gets in the way of the reason everyone is there, they've one too far. Let's all work together and get the job done as quickly, efficiently and at as low cost as possible and get more people in the door.

 

[Crisp image]

When I first started work 31 years ago the industry I was working in (Not Theater) was very much a demarcation place. However over the years it changed to be more flexible and now we can multi-skill (providing we have skills and qualifications) and it is a much better place to work because we can get the job done without the delays of waiting for someone to do that job.
For me union membership is damned if you do and damned if you don't. While not being a member makes no difference on the work site, the unions are the ones who negotiates our wages and working conditions under an Enterprise Agreement.
Regards
Geoff