Preparing for scene shifts

[EustaceM]

Does anyone have advice on how they work with their crew for scene shifts?

I usually make cue sheets that is posted that tells them what needs to be set, striked and what color spike take for each scene shift cue. At tech rehearsals I talk them thru the set change and what needs to be done, what order and how. Answer any questions they have. I "map" out the set change beforehand so it is quicker and efficient, any problems that we run into I fix during rehearsals.

Any other methods and procedures that I could use?

I usually cant arrange meetings and rehearsals with my crew in advance before tech rehearsals.

 

[seanandkate]

You could also include simplified plan-view sketches of each set change to go along with your posted written information. You know, for those visual learners on your crew...

 

[josh88]

in the past we've had an asm for each side of the stage run through with their crew who moves what and when. Different colors for different things. The Asm's on headset get a standby for the crew, and then the go. Usually there is a chunk of a rehearsal or a tech rehearsal where they just run the changes until they are comfortable without needing any info or help. Then of course just as a back up the info still gets posted in the wing somewhere just in case.

We had one director who was so anal about the "movement" in the show that they had the scene changes choreographed. They weren't dancing, but the crew was in costume to the show and effectively waltzed the pieces in and out to their spots without any blackout or significant "scene shift" lights

 

[Clairabelle]

I always try and meet with the crew before all tech rehearsals and shows. In preparation to the first tech we give them sketches of the scene changes. From there on, our deck captain usually oversees all set changes and if there is any questions.

 

[shiben]

I always try and meet with the crew before all tech rehearsals and shows. In preparation to the first tech we give them sketches of the scene changes. From there on, our deck captain usually oversees all set changes and if there is any questions.

I usually equip the deck captain with a bull whip to aid in the learning process for the crew. However, I am told my previous method is more effective, wheupon we dedicate a significant portion of the technical rehearsal to changing sets, without actors, and let the crew figure out who needs to grab what when and where. This also allows the SM team to spike set pieces more accurately (it never translates, it seems), and then actors can move around the moving crew. To those who complain, I usually try and accommodate, but if it comes down to it, its easier to change the way one dude walks than move 4 guys moving a half ton set piece onstage using swivel casters.

 

[mstaylor]

It is important to run set changes without the actors so the crew learns the deal but then the actors need to added so they know where stuff is moving the dark or reduced light. I SMed my first first major musical for a community theatre when I was 18, scared to death. We had some large sets, Kiss me Kate, and I got yelled for wacking an actor in the dark. I simply pointed out that it is easier for him to avoid us and that he didn't go where he was supposed to go.
We do touring theatre and kids shows like Sesame Street, with nothing more than cue sheets and talks between moves, having never seen the show. It can happen but it takes some planning.