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So I'm ASM'ing (and providing some voiceover work) for a show at a local theatre. The script is a funny and involves a lot of physical comedy, and the cast has great chemistry, but there's one problem. The director and sound designer are determined to put in as many goofy sound effects into the show as possible. It'd be one thing if this was a kids' show, but it's most certainly not. Record scratch noises, toilet flushes, fake gunfire, and other stuff I'm forgetting, all to punctuate jokes I think the cast can sell fine on their own. We haven't done the play with them yet, but the sound designer makes the sfx with his voice during run-throughs. Am I being too  here? Maybe my view of comedy is objectively wrong and live theatre needs an entire CD of SFX to be funny? My biggest experience in theatre is doing radio plays, where we do use a lot of sounds, but rarely superfluously. Or the production of Harvey I did sound for where I had nothing but phone rings, alarms, and background noise.
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Sep 18, 2012 16:39
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Sulphuric Sundae posted:So I'm ASM'ing (and providing some voiceover work) for a show at a local theatre. The script is a funny and involves a lot of physical comedy, and the cast has great chemistry, but there's one problem. The director and sound designer are determined to put in as many goofy sound effects into the show as possible. It'd be one thing if this was a kids' show, but it's most certainly not. Record scratch noises, toilet flushes, fake gunfire, and other stuff I'm forgetting, all to punctuate jokes I think the cast can sell fine on their own. We haven't done the play with them yet, but the sound designer makes the sfx with his voice during run-throughs. Is it a good idea? Maybe not. Is it the concept that the director is going for, possibly. It's a matter of preference when it comes to designs like that, and it may be an intentional stylistic choice. When it comes to producing comedies and how you integrate tech elements, there's really no objectivity about it. There's not really anything you can do about it but wait and hope that it all gets sorted in tech.
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Sep 18, 2012 17:18
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Stand up for yourself and make your case. I'm sure the leads don't want to star in a morning drive-time show.
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Sep 18, 2012 22:25
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Golden Bee posted:Stand up for yourself and make your case. I'm sure the leads don't want to star in a morning drive-time show. Just make sure to do it respectfully, if you do-- expressing opinions on the design choices falls well outside of the bounds of an ASM's responsibility.
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Sep 18, 2012 22:54
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MockingQuantum posted:Just make sure to do it respectfully, if you do-- expressing opinions on the design choices falls well outside of the bounds of an ASM's responsibility. Agreed; it's really not your decision to make, unfortunately. In fact, I saay suck it up, bitch about it in the green room with the actors, and treasure the running jokes you'll be able to share with everyone else in the bar after the show.
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Sep 19, 2012 03:31
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Sometimes theatre is art, sometimes it's a paycheck.
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Sep 19, 2012 04:02
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Oh, I'm definitely not gonna say anything unless asked. Then I'll emphasize that's it's just my personal opinion. I've never worked at this theatre before, but the comedies I have seen there didn't involve an abundance of unnecessary sounds. I get paid the same amount whether or not people like the play. And I have to consider that I may just be a stick in the mud, and our audiences may think it adds greatly to the comedy. I'm actually creatively involved in a radio-style show next month, so I'll just channel my frustrations into making that one not sound tacky.
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Sep 19, 2012 15:00
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Sulphuric Sundae posted:Oh, I'm definitely not gonna say anything unless asked. Then I'll emphasize that's it's just my personal opinion. I've never worked at this theatre before, but the comedies I have seen there didn't involve an abundance of unnecessary sounds. I get paid the same amount whether or not people like the play. And I have to consider that I may just be a stick in the mud, and our audiences may think it adds greatly to the comedy. Good plan. Stay pragmatic. And always remember that even the greatest theaters in the world (regardless of personal opinion on what theaters those might be) occasionally do terrible shows. I only say this because I had a similar experience with a theater that then offered me another job, which I turned down because I was an elitist dork about it. It was one of the best shows I've ever seen and I beat myself up to this day.
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Sep 19, 2012 23:05
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So, by volunteering my services for our community theatre's run of Daddy's Dying, Who Got The Will?, I've been stuck on music/sound design. I got no issue running the high-tech boombox or anything, but where do you go to find great (read: free) sound effects? I need to get a variety of car noises, dogs barking, etc. for the show but don't really know where to start other than grabbing random .mp3's or doing my own foley work.
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Sep 20, 2012 02:00
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Not anywhere near free but everyone should own the BBC sound effect library because it is amazing. But findsounds.com is a decent free alternative too. On an unrelated note, I am considering a paper submission to Performance Studies International this year. I already have a topic and a basic summary of what I want to research but I think its too vague of an idea right now. Does anyone have experience writing research summaries and has time to help me out with this?
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Sep 20, 2012 05:38
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CainsDescendant posted:So, by volunteering my services for our community theatre's run of Daddy's Dying, Who Got The Will?, I've been stuck on music/sound design. I got no issue running the high-tech boombox or anything, but where do you go to find great (read: free) sound effects? I need to get a variety of car noises, dogs barking, etc. for the show but don't really know where to start other than grabbing random .mp3's or doing my own foley work. http://www.freesound.org/ Cannot recommend this site enough.
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Sep 20, 2012 08:05
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Hey theatre thread! I've been meaning to post in here forever, I'm in college right now working towards a degree in design and technical theatre. My emphasis is technically scene design, but I've mostly been working on props and as a carpenter, mainly because I haven't gotten to the design classes yet. Right now I'm in the middle of tech for my first real production staff position. I'm the prop master for my college's production of The Shape of Things. It's not a terribly prop heavy show, but it had some interesting problems (mainly making a can of spray paint that could actually spray onto costumes and not damage them) so it's been a fun, albeit a little stressful, show to work on. My only real question is that since it's such a modern show there's not really a whole lot that I've built, but I need to build my portfolio. Now there are some things that I've done a little graphic design on, spray paint can logo, programs, that sort of thing, but other than those should I just get shots of the props on stage? Before when I took pictures it was always of props I had built, now that I'm basically taking shots of things that I bought it feels sort of weird to me. Then again there are only a couple of scenes that really have a lot of props, so I'll probably only end up using those. I am super excited about finally having stuff to post in here though! I've been working as the assistant scene designer for our production of Lend Me a Tenor, but I won't have any real work until after Shape of Things closes. Then in the spring I'm doing a turn as master carpenter on The Cherry Orchard, which should be a very interesting assignment, as one of our professors is retiring, and the design is his last hurrah. With all this, classwork, and trying to make it to USITT and SETC, it should be a very busy (in a good way) year.
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Sep 23, 2012 19:12
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r0ff13c0p73r posted:http://www.freesound.org/
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Sep 23, 2012 19:40
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Sack of Orphans posted:making a can of spray paint that could actually spray onto costumes and not damage them I did a show where one actor had to spray the shirt of another every night. We used tinted hairspray. The color shows up really well (depending on the surface) and it's washable.
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Sep 23, 2012 20:26
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Rashomon posted:I did a show where one actor had to spray the shirt of another every night. We used tinted hairspray. The color shows up really well (depending on the surface) and it's washable. That's sort of what we ended up using. We found a spray on washable temporary hair dye that looked just like spray paint. Then we used a drill to make sure a can of depleted spray paint was depressurized, I cut into it with a dremel, made a hole in the top for the nozzle, slipped the smaller can of dye inside of the spray paint can (with some foam and hot glue so it would stay in place) then I taped it shut and made a fake label to cover it up. We also scotch guarded the hell out of the jacket so that it could be wiped out instead of being washed every night.
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Sep 23, 2012 22:56
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I've come to two realizations: 1) I am not cut out to work a "day job" and just do my art and theater on the side. I've made a good go of it and I'm at a job where I could certainly comfortably put my head down for decades, but I just know that this isn't the life for me. I'd rather be poor and toiling away at something that I care about than secure in an office building somewhere. 2) I can't transition out of this where I live right now. Rural Ohio is not the place to become a performer. Both of these are decisions I've been working towards since I was a teenager, but recently I went from having someone to take care of to no responsibilities to anyone but myself and my conscience for the first time since I was 17. Hurray for divorce. Since I'm 34, that's a big change. Both of these things are also terrifying since I've spent my whole adult life working towards the relative stability I have now. I mean, I'm broke but I own my house (well, the bank owns it) and have a good job that doesn't directly interfere with my artistic passions. On paper, these are reasons to stay where I'm at but I just can't do this. I thought I could, but I can't. I'm not talking about quitting my job tomorrow and moving across the country on a whim, but I have to start formulating a plan to get myself into creating full-time. I don't expect it to happen overnight and I don't expect it to just fall into my lap, but I have to start somewhere. Like I said before though, rural Ohio is not the place where I can just make this happen. Maybe I can move back here someday if I've established myself, but for now I need to go where the work is. So, my question for you guys and gals (though, let's be honest, it's the internet so I assume you're mostly guys): Where should I start looking? I know every major city has their own theater scene and I know that the odds are going to be stacked against me any and everywhere I go, but I am looking for a place where I can take some classes, expand my knowledge, pad my resume and make some solid connections that could lead to steady work. Right now this is just so that I can start planning on where to go. I'm really fond of Chicago based on a couple of visits and stories from this thread (and elsewhere), but I'm not committing to anything just yet. Once I've chosen a place to go give this a shot, I'll then be finding a day job there, figuring out what to do with my house (sell or rent it out) and a hundred other details. So this isn't something I'm doing tomorrow or next week, but almost certainly next year. I have to start somewhere, so this is my step one. I plan on doing a little traveling to scout places out over the coming months, but I'd like to make a decision by February or March of where I want to move to. From there I can figure out how I'm going to do it. With a little luck, I can essentially trick my employer into paying for my move by taking a transfer to a job located in whatever city I land in. Then I can use that job to support myself until I can get my feet wet in the new town. I've been wrestling with this for months now and was in a position where I almost lost the house. Of course as soon as I managed to save it I realized I probably didn't even want it anymore. Such is life. So, Goons. Sell me on your city's scene. Or a former city's scene. Or some other city's scene. Offers for couches to crash on and such will also be appreciated.
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Sep 24, 2012 20:20
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Well obviously, I'm going to tell you to come to Chicago, but there are good reasons why, beyond my sense of Chicago supremacy. Simply put, if you want to be a working stage actor there's no better place for it. We have something like 250 theatre companies, so there's always something going on and if you're not in a production, there are any number of excellent teachers to help you brush up on whatever particular skillset you want to improve. It's also a very friendly community, which is sort of a way to say that it's an actual community here. There's a shitload of us but it's also an incredibly small group of people, so you'll be able to start building a network pretty quickly, possibly even unintentionally. Yeah, you'll almost certainly need a day job of some sort, though plenty of actors are able to be full-time artists doing children's theatre, teaching, and then taking various side gigs like working at medical schools or teaching, or just plain working part-time. The best reason though, so far as I'm concerned, is that you'll have the chance to do some absolutely amazing theatre, the kind you can't find in most other places. If nothing else, Chicago's storefront scene gives the chance for some incredibly intimate theatre, largely because most of our theatres are failed beauty parlors and the audience is only two feet away. Plus, we do have the best food and beer options for after-show consumption. I can't necessarily offer couch space, but I'd be happy to show you around if you're in ever in town.
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Sep 24, 2012 21:11
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Chicago is the first place in my mind, but it's also the only official Big City I've been to, so I kind of want to see my other options before committing to it. It may well end up being where I go, but I'm holding back on it because it's my first choice if that makes any sense. All of my credentials coming from community theater and having spent a lifetime working office jobs makes me like a cliche destined for failure, but I really don't give a poo poo. That's part of the reason I want to be sure it's a place I have lots of opportunities to learn, too.
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Sep 24, 2012 21:31
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Totally fair, I myself dabbled in not living in Chicago in my 20s, it's a phase of a lot of us go through but it can be overcome. As for your community theatre credentials, I can't imagine anyone looking on that as a negative. It's experience and it counts. Chicago is certainly a place to come and get good (and then leave for one of the lesser coasts), no matter if that's from classes with great teachers or from good, old-fashioned stage time. All that said, it's absolutely worthwhile to take a look at other options and see what works best for you.
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Sep 24, 2012 21:54
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You're not really helping me with the whole "research other places" thing. I've spent something like 48 hours in the city and am already in love with it. I try not to take home the first girl I talk to at the dance, though. Now we're getting dangerously close to discussing my relationships with women, which seem to be much rockier than my relationship with performing.
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Sep 24, 2012 22:23
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Geekboy posted:You're not really helping me with the whole "research other places" thing. Well that's weird and seems totally not like the thing I was trying to do at all, nope, not me.
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Sep 24, 2012 22:29
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If you have a car, the SE Pennsylvania scene is pretty great. A lot of actors I know are centered in Philly and then do work in the many regional theatres throughout the state. Also, you're in pretty easy distance to NY, DC, and Baltimore plus all the regionals in NJ as well. Also, if you haven't already, start looking into how to get your Equity card now, most places I've worked/heard of are Equity houses and that's where you'll find the better paying gigs.
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Sep 25, 2012 02:46
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r0ff13c0p73r posted:Also, if you haven't already, start looking into how to get your Equity card now, most places I've worked/heard of are Equity houses and that's where you'll find the better paying gigs. Depends on where he's going to end up. Equity is the big time, and you can make a passable living if you're working a lot. That's a pretty giant bastard if though. In Chicago, for example, Equity gigs are the overwhelming minority and while the money is better than at the storefront level, unless you're exceedingly lucky you face the very real possibility of it preventing you from working. It's a calculation you have to make; I dug my heels in when I was working all the time as a kid and was able to avoid it and that's one of the main reasons I have any career to speak of now. It's not as clear cut a choice as joining SAG-AFTRA.
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Sep 25, 2012 04:26
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Having a career in the theater is almost impossible. Most actors everywhere make most of their money from other jobs (waiting tables, babysitting, office jobs, temping, etc). Everyone tells you it's going to be hard but it's going to be HARD. Even very successful actors have to have other jobs sometimes. This was summed up by a brilliant tweet by the actor Daisy Eagan: "I have a job interview tomorrow for a temp job packaging human breast milk. I also have a Tony award." Your mileage may vary of course. If you are especially talented, especially lucky, especially tenacious, or especially well-connected, you have a better shot at having a real career. If this sounds like I am trying to be discouraging, I am. If you read this and say "nah, I'm gonna get out there and DO THIS anyway" then congrats, you've passed step 1. Only 9,999 other challenges to your ego and psyche await you before you feel like a real actor (and then your good job finishes, and you have to go through 10,000 more).
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Sep 25, 2012 20:57
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What's your area of interest in performing? Do you lean more towards one type of theater? And also, I'd assume yes from your screen name, but are you in fact male?
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Sep 26, 2012 00:00
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Knowing how hard it is to "make it" (whatever the gently caress that even means) is precisely why I've been a lily-livered chicken poo poo my whole life. The way I see it is that even if I go out and end up doing the same thing I'm doing now (working a day job and performing at night), I'll be doing it in a place where I have real opportunities. Where I won't suggest a show only to be shot down because the old ladies that make up most of our audience won't come see it. So I know it will be hard as hell and then some, but I only have one spin on this dirt ball and I'm not going to spend it working in an office with no ambitions to do something else. I tried to do that. I really did. I would rather be poor and waiting tables during the day while I perform at night than wealthy and sitting at a desk for 40 hours a week. I don't have a specific "type" that I'm drawn to at this point, which is part of why I need a bigger stage to play around on. I am drawn to work with real content, but I'm in a place where there were people that were actually worried that the language in The Odd Couple might be considered offensive to our audience. It makes it hard to explore when people around you consider Neil Simon racy. I am a guy, MockingQuantum. In fact, I'm a guy with a good set of pipes. I'm a big fish in a small pond here and I completely expect to go to my future home and get rejections and maybe bit parts for a good, long while. I will be starting from nothing, but I know I'm at least serviceable and that I'm willing to (quite literally since I've dropped about 70 pounds in the last 4 years - around 40 just in the last 5 months) work my rear end off. I actually kind of want to work my rear end off. I'd be disappointed if I moved to my personal mecca and then just fell into exactly what I'm looking for. The learning process and time spent in self-discovery are as important to me as eventually ditching full-time work in an office building. More important, actually. This isn't about success, it's about knowing I tried. Sitting in my comfy house in rural Ohio doing three shows a year while I sock money away into my 401(k) would be a lot easier, but it isn't what I am built for. I don't plan on winning a Tony any time soon (or ever), but I can't sit in an office and wonder what might have happened.
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Sep 26, 2012 03:41
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I don't know how much I'm actually trying to "sell" it, but here's some thoughts on the theater world in the Twin Cities: We probably don't have a comparable number of Equity theaters as Chicago, but we do have some, including the Guthrie, which is a huge employer here. I couldn't even venture actual numbers, but I'd say probably 15-20% of the actors I know have their Equity card and do enough work to maintain it. Our "small" theater scene is diverse and pretty committed. There's a huge breadth of what's done year to year, and theaters do take the time to ask whether they're doing worthwhile, challenging work. Plus they have the audiences to support it. If you have any camera experience or are photogenic, we have a surprising amount of advertising work here (assuming Best Buy doesn't tank-- we still have Target Corporate here though). I know a heavy subsection of the actors in town make enough on advertising to live and do the theater they want to do, while not feeling as though they have a "regular" job. Also, we have a strange shortage of male actors that can sing and aren't 20somethings. Take as you will, I have no idea what it means or implies. Cons: -Cold winters (lots of winter theater because of it) -Sparse summers. A lot of theaters are dark from mid-May to mid-August. We do have a sizeable Fringe Festival, but those rarely pay well. -Unless you're hella dedicated to public transportation, you will need a car. -Lots less culture than Chicago. -Insular community. It's a really tight-knit theater world, but tough to break into because of it. -Strange disparity in theater quality. We have some outstanding storefronts, but they can sometimes be overlooked in the crowd of "lets do a play" companies opened by Renaissance Festival vets. Nothing against them, but they don't really have the same goals as the rest of us, and it's what some of the theatergoing public think theater is all about. Pro or con: -HUGE geek culture here. It spills over a lot into the theater world. Though I'm guessing it will lessen as the trend becomes less fashionable, we probably had at least a dozen major "steampunk" productions or adaptations. If you're into that kind of thing, it can be a fun community to be a part of. One group did a hilarious adaptation of the Scottish play as an MMO.
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Sep 26, 2012 03:57
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Rashomon posted:Having a career in the theater is almost impossible. Most actors everywhere make most of their money from other jobs (waiting tables, babysitting, office jobs, temping, etc). Everyone tells you it's going to be hard but it's going to be HARD. Even very successful actors have to have other jobs sometimes. This was summed up by a brilliant tweet by the actor Daisy Eagan: "I have a job interview tomorrow for a temp job packaging human breast milk. I also have a Tony award." This. I have a number of actor friends that you would probably recognize as "that guy/girl in the background of [movie], or the person who stared in that series of national commercials" that struggle to make ends meet. The dirty little secret is that even many recognizable faces have day jobs. In a 2008 survey (which granted, was a bad year) the average salary for AEA members from acting work was less than $8,000 per year. And that was after you removed the over 50% of members that didn't have a single gig that year. I'm incredibly lucky, I have a year round, decent paying job at a LORT theatre (in production) through a small part of skill, but mostly a tremendous amount of right place, right time.
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Sep 26, 2012 06:03
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The other thing to consider is tech (COME TO US!). It's reasonable to expect to make a living, a lot of regionals have full time technical staff. Starting out would still mean having to take overhire jobs for experience, but you might find that more enjoyable than your potential office job.
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Sep 26, 2012 06:26
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Thanks team for the book suggestions, I actually read through them and it was pretty helpful! Although I've decided I am going to stick to writing plays from now on, this poo poo be time consuming.
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Sep 26, 2012 07:11
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Anyone know anything about breaking into the scene in Seattle? It's another option for me (though Chicago is still first in my heart). I would certainly consider Tech since I love every aspect of this thing. Especially if an opportunity came along where I could make some money at it.
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Oct 1, 2012 17:06
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Update on the good play with bad sound design! It's gotten worse. The show definitely needs sound effects, but the sound alternates between realistic sounds needed for the scene and goofy sounds to punctuate jokes. One character says that marriage is like Alaska, "except there's no drilling." Cue the "womp womp" trumpet with the sound of a drill on top of it. "Sexy" music for kiss scene, punctuated by an exaggerated "smooch" sound. A character rushing off stage at one point in the play is greeted with the sound the Road Runner makes when he runs off screen. Terribly generic MIDI entrance music for some of the characters. It's a comedy with sex jokes and drinking, but you'd think it was a Disney Channel kid's sitcom from the sound design. The actors are hoping the audience at IDR this Thursday will say something about it, because they think it's tacky and messes up their timing. I might try to subtly bring it up tonight. I'm about to go on a long hiatus from local theatre (about to have my first kid), so I really have nothing to lose.
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Oct 15, 2012 13:36
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Chicago is the greatest city in the universe to be an actor in, as long as you win the lottery first.
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Oct 16, 2012 22:13
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OSheaman posted:Chicago is the greatest city in the universe to be an actor in, as long as you win the lottery first. And in the meantime, we have liquor 
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Oct 16, 2012 22:16
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Sulphuric Sundae posted:Update on the good play with bad sound design! It's gotten worse. Oh my god, it's like a Christopher Guest film.
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Oct 17, 2012 07:13
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I'll be in Chicago November 3rd through the 8th or 9th and would love to see some of you Chicago goons' work, so feel free to pimp it up to me. I'm planning my itinerary now and don't want to miss your shows if there are any going on.
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Oct 18, 2012 20:06
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Load in from hell ended up opening great. Multiple tracking units on winches required us to circ saw cable tracks into the floor...unfortunately, under the masonite was some significantly tracked up plywood that ended up taking out 2 saw blades and a flush trim bit for the router. A week later, after we had finished the set we started having problem with the stage left track. It became a game of tweak the tracks in the morning, run to the shop to try and build our next show, then get a terrified call from the SM who was in tech, run back to the theatre to tweak again. Long story short, load ins are a bitch even if they're supposed to be easy. Anyone else have fun load in stories to share?
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Oct 19, 2012 07:07
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Geekboy posted:I'll be in Chicago November 3rd through the 8th or 9th and would love to see some of you Chicago goons' work, so feel free to pimp it up to me. I'm planning my itinerary now and don't want to miss your shows if there are any going on. I'm in rehearsal then but I highly recommend seeing Good People at Steppenwolf . . . if you don't want to pay full price there are $15 student tickets as well as a couple of day-of-show deals like 20 for $20 and Half Price rush tickets. The other "hot poo poo" show right now is Sunday in the Park with George at Chicago Shakespeare. You might have a harder time finding discounted tickets but word is that it's a loving masterpiece. Other options: Lookkingglass is reviving Metamorphoses, the play that made them famous. For a taste of more fringe-esque stuff, try Don't Give That Beast a Name at Chicago Mammals; I've heard good things. American Theater Company is doing Doubt, and it's pretty good and much better than the sister play, Agnes of God, also being performed at ATC. Freud's Last Session has been a huge hit and was extended a couple of times; it closes November 11th so that might be worth seeing at the Mercury Theatre. Finally, Writer's Theater is doing a production of Hamlet with a bunch of enormous Chicago stage stars . . . or at least as big as stage stars get in Chicago. It's gotten a bunch of great reviews and you get the chance to see some of Chicago's very best on stage, but a) it's actually north of the city in a suburb called Glencoe, so you'll have to either drive or take the Metra, and b) good loving luck getting cheap tickets to that.
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Oct 19, 2012 14:11
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A local theater I submitted to months ago wants a full script of Apocrypha. If they like it, it'll join their really good reading series..
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Oct 19, 2012 20:06
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OSheaman posted:I'm in rehearsal then but I highly recommend seeing Good People at Steppenwolf . . . if you don't want to pay full price there are $15 student tickets as well as a couple of day-of-show deals like 20 for $20 and Half Price rush tickets. I was already planning on this if I could make it happen. quote:The other "hot poo poo" show right now is Sunday in the Park with George at Chicago Shakespeare.  My favorite show is playing while I'm in Chicago? Well, that decision has made itself. Thanks for the other options, but this is a necessity.
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Oct 19, 2012 22:38
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