This thread makes me happy that usually the directors I am dealing with now seem to have the attitude that lights and speakers just set themselves up for the most part... (Note: College I am at DOES NOT have a theatre program... just students wanting to "expand their horizons" or something like that...)
What do you do when a director wants to be in the booth?
- Thread starterricc0luke
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TheSlowPoisoner
Member
I've never had to encounter such a problem, because (a) both of the directors that I had almost NEVER went up there and (b) our booth was tremendously large and fit about ninety million people comfortably. As unprofessional as this may sound, we actually had our friends up there during shows, and there were couches, so... well, lets just say those couches got more use out of them than was intended when we put them up there. My suggestion would be to get some headsets or something--we had a comm system installed into the walls when my theatre was built, but a few headset-ready walkie-talkies aught to do the trick. If that can't be done, then just try to convince her that there's not enough room up there for the three of you--if you're confident enough that you won't need her up there, that is.
In my high school, our director just sits in a seat in the house, usually behind the audience. Our booth is about 7'x12', and then the sound system and light board is up there with two light board operators. It also tends to get hot up there if there is more than two people up there even if the glass isn't in the window of the booth overlooking the FOH/stage.
Director likes to watch the show and if she has to get a hold of a tech over headset, she walks over to the sound board.
In a way, the booth is a pain in the ass because it is located on the second floor of the school, so you have to completely exit the the theater to go upstairs and into the booth. Makes a long trip when moving equipment between the two.
Plus we've apparently had bad experiences with couches in the booth, years before I got to the school.
Director likes to watch the show and if she has to get a hold of a tech over headset, she walks over to the sound board.
In a way, the booth is a pain in the ass because it is located on the second floor of the school, so you have to completely exit the the theater to go upstairs and into the booth. Makes a long trip when moving equipment between the two.
Plus we've apparently had bad experiences with couches in the booth, years before I got to the school.
midgetgreen11
Active Member
We never really use our booth. We set up a tech table for lights and/or sound in the back rows of the orchestra seating. This leaves an awkward section of 6 seats in the back for the lightboard and sound board operator. My director usually hangs out in the back of house to catch stragglers on their way in to the performance, as our house managers.... are failures.
Our Director is NEVER on comm, as we have very tempermental walkie-talkies which when exceeding a certain numer... they crash... or we hire in clearcom with JUST enough so that each necessary person has one.
My director would actually be quite funny on headset...
Also, she technically teaches (no pun intended) the Theatre Production/Technical Theatre class at my high school, but it never runs due to lack of interest, so us tech students learn from our predecessors, and sources like CB.
Our Director is NEVER on comm, as we have very tempermental walkie-talkies which when exceeding a certain numer... they crash... or we hire in clearcom with JUST enough so that each necessary person has one.
My director would actually be quite funny on headset...
Also, she technically teaches (no pun intended) the Theatre Production/Technical Theatre class at my high school, but it never runs due to lack of interest, so us tech students learn from our predecessors, and sources like CB.
elite1trek
Active Member
At my theatre, I am very lucky in that the director knows nothing about tech, and everybody respects their positions. If somebody has a problem with something, they take it to me, and I tell my crew.
As for that, that may just be the quickest way to get you kicked out tech at your school. At theatres I have worked at, I would have gotten fired.
My advice, depending on how your school is structured, would be to find a teacher who knows something about tech, or how professional theatre works, and ask them to speak with your director. Your director might respect an adult more than a student.
Such was the case at my high school. xD
As for that, that may just be the quickest way to get you kicked out tech at your school. At theatres I have worked at, I would have gotten fired.
My advice, depending on how your school is structured, would be to find a teacher who knows something about tech, or how professional theatre works, and ask them to speak with your director. Your director might respect an adult more than a student.
Such was the case at my high school. xD
I'm a little lucky in that I worked in the industry and got an MFA in lighting before I became a high school teacher. Many drama teachers just don't know how things work in professional theatre, and/or don't know WHY things are done that way. When I first came to my present school (now been here for 15 years), the teacher/director always wanted to be on headset during a show. It raised the anxiety level of everybody on headsets beyond measurable limits. I gradually phased that out. Now my technicians know that it's policy -- show opens, it's now their show. As a result, my operators and stage management staff are better trouble-shooters and can handle things on the fly. THERE'S a skill that they're going to need . . .
That being said, if they're just sitting there taking notes, letting you do your job, then no fault no foul.
That being said, if they're just sitting there taking notes, letting you do your job, then no fault no foul.
IndigoFire
Member
in my experience, once the show is in the venue the the stage manager takes control and it is up to them where and how much the director is involved.
If you have a problem with the director being in the booth, you should first raise it with your director. Failing that, approach the stage manager and see if they are able to help you out.
If all else fails, just start talking about your director through the comms so that they feel so awkward they have to move away.
If you have a problem with the director being in the booth, you should first raise it with your director. Failing that, approach the stage manager and see if they are able to help you out.
If all else fails, just start talking about your director through the comms so that they feel so awkward they have to move away.
Our A/L booth is hard to access from the seats- it involves three sets of doors, going down one staircase and up two staircases and a long catwalk so it is a major trek. During rehearsals we keep a big container of red vines in the booth and I will bring handfuls out to the director to keep them away from the loft. (They have a multiple channel headset available during rehearsals- there's really no need to come up to the booth.) If they insist on coming up anyway, they have to crowd into the "overflow" lamp room/closet and they don't stay long- I hide an open jar of Limberger cheese in that closet while they are on their way up the stairs 
.
.klestekoff
Member
klestekoff
Member
Sorry - I didn't mention that I am a director. My advice, by the way, is to talk with the director and explain that in-the-moment direction will prevent you from being as effective as you can be. Let him/her know that you work best with notes following a production or run so you can fully integrate the timing and considerations. I hope that helps!
garyvp
Active Member
Our booth is large, comfortable, and has room for four. Two is typical. We have a separate director's booth adjacent to the CB, and some directors actually use it. Our directors tend to either prefer the control booth or the theater during a performance. Our best stage managers will not permit directors in the booth; I agree with that. As the TD, I can go in when I please, but believe that the tech crew owns the space during their show.
Landon2006
Member
Ultimately, if the director wants to be in the booth, he should be. Since the director is the ultimate word on the production (most of time, unless a producer is involved. Even if there is a producer, he will most of the time leave it up the the director), and if he says "I wanna be in the booth", then who is the stage manager to say no?
To me, I would not allow my Stage Manager to tell me that "No, your not allowed". Its my production, I'm in charge, I'll say were I go
I really don't buy the idea that once the director is done rehearsing, he should leave the production up to everyone else. all to often, especially on a longer run, things take an entirely different turn that what the director wanted.
Ultimately, if there is room in the both, let him in. Be thankful he is not asking to be backstage during the show! If there is no room in the booth, then just let him know. Tell him to sit in the back of the audience and you'll give him a headset.
Personally, I don't have this situation to deal with. I am the director, and I call the cues for my own shows!
To me, I would not allow my Stage Manager to tell me that "No, your not allowed". Its my production, I'm in charge, I'll say were I go
I really don't buy the idea that once the director is done rehearsing, he should leave the production up to everyone else. all to often, especially on a longer run, things take an entirely different turn that what the director wanted.
Ultimately, if there is room in the both, let him in. Be thankful he is not asking to be backstage during the show! If there is no room in the booth, then just let him know. Tell him to sit in the back of the audience and you'll give him a headset.
Personally, I don't have this situation to deal with. I am the director, and I call the cues for my own shows!
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Landon2006
Member
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kiwitechgirl
Well-Known Member
To me, I would not allow my Stage Manager to tell me that "No, your not allowed". Its my production, I'm in charge, I'll say were I go
I really don't buy the idea that once the director is done rehearsing, he should leave the production up to everyone else. all to often, especially on a longer run, things take an entirely different turn that what the director wanted.
Doesn't work that way in the professional world! I'm nearly at the end of a 12-week run and the show has been entirely in my hands (as the stage manager) since week 1. The director comes in to see the show every now and again, and will e-mail notes through to me to distribute the next day, but it is up to me to make sure that it stays as the director wanted it. I give notes to actors if they're doing something wildly different; I make sure blocking remains the same (having noted it all down during rehearsals). Of course the show changes slightly night by night, but it's my job to make sure it stays within certain boundaries. I don't deal with musical notes, as the musical director is playing keyboards and conducting the show, but anything else is my job to maintain. I'd never have a director in the booth; they place their trust in me and the operator and leave it at that. If they have issues with cues, they give me a note and I correct it.
Landon2006
Member
I guess it depends on the "Professional Theater". Out theater is professional. We use all paid actors and crew, etc... I still always act as both the stage manager and the stage director, and many time other jobs as well. Unless your a union show which restricts who can do what, I think its mostly up the producing companty to choose how the shows will be run.
Most Professional Theaters do follow a certain code, but that code is not "set in stone".
Most Professional Theaters do follow a certain code, but that code is not "set in stone".
I think kiwitechgirl is right on the money here. In "professional theatre" directors aren't usually calling their own show. Not to say that your shows aren't professional calibre, but the professional directors that I've worked with (that is to say the ones that only direct for their livelihood) generally don't go in the booth. After their show opens, they need to move on to the NEXT gig that will put food on the table. They leave the show in the hands of a Canadian Actors Equity stage manager who is contractually obligated to maintain the artistic integrity of the show until it closes or they are replaced. If the director wants to see the show, the house manager will find them a seat, generally in "designers row" at the back. The control booth is the stage manager's house. If there's anything in the booth that they believe will prevent them from doing their absolute best to call the show the way it was left to them, it's their responsibility to remove the distraction. The director has the time from casting to open to do what they need to do. After that, it's the stage manager's baby . . . [IMHO]
kiwitechgirl
Well-Known Member
You're right in that the code is not set in stone, and there will always, always be variance, but I'm really interested in the idea that you act as both director and stage manager, as I've never come across this before. How does it work in rehearsals, do you write blocking down yourself, or do you have an assistant who does this? Do you issue your own rehearsal reports, do you find your own rehearsal props, do you liaise with designers and staff? Or does your job as stage manager only go as far as calling the cues in a show situation, and you have a rehearsal stage manager? And how does this work with union requirements? (I should add that here in New Zealand, we're totally non-unionised and so I have no experience with what people can and can't do under union rules) What I would say, though, is that having worked through England, Australia and New Zealand, the way my current company works is pretty standard, and the way you work, while it is undoubtedly professional, is very non-standard. Not having a go at you, just interested!
Landon2006
Member
Kiwitechgirl:
I have a Dep. Stage Manager who acts as the "Stage Manager" during rehearsals of the show. He/She does most of the stuff that a stage manager would do during rehearsals and pre-production, except the scheduling of rehearsals, which I do as well.
When the show kicks into the run, I then take over, and he / she then will become my assistant. For me, it’s the fact that I was a stage manager for a while, and when I became a director, I love both jobs. In a sense, I love the management responsibility of the stage manager and I also love the artistic ability as a director and sometimes choreographer. So, instead of choosing “one or the other”, I choose both.
Sure, it’s out of the ordinary, and many of the actors still get a little confused by it, especially the ones who have been involved in theater before. But, it works out great. Shows go on great, actors do a good job, and I get to enjoy both of my jobs.
I have a Dep. Stage Manager who acts as the "Stage Manager" during rehearsals of the show. He/She does most of the stuff that a stage manager would do during rehearsals and pre-production, except the scheduling of rehearsals, which I do as well.
When the show kicks into the run, I then take over, and he / she then will become my assistant. For me, it’s the fact that I was a stage manager for a while, and when I became a director, I love both jobs. In a sense, I love the management responsibility of the stage manager and I also love the artistic ability as a director and sometimes choreographer. So, instead of choosing “one or the other”, I choose both.
Sure, it’s out of the ordinary, and many of the actors still get a little confused by it, especially the ones who have been involved in theater before. But, it works out great. Shows go on great, actors do a good job, and I get to enjoy both of my jobs.
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