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Newsletter The Art of Stage Management Stage Managers. Every show has one – or the show can’t go on. For a stage manager, each production poses fresh and unpredictable challenges. Each theatre has its own way of doing things. Every rehearsal schedule requires great organizational and people skills to balance everyone’s requests. Each director has his or her own working method. Every script poses specific demands for the artistic and technical team. Each actor in the company has individual and specific needs (on stage and off). And throughout the run of the show, the audience will be different for every performance. In learning the art of stage management, you can take many paths. The best training comes from getting on-the-job experience or technical training from a theatre school, apprenticing with an experienced stage manager, and updating your skills with workshops. For some stage managers, they fell into the role when no one else wanted the job and their technical or production experience led to the rehearsal hall – a true baptism by fire. Theatre Ontario’s introduction to stage management Stage Management Without Tears was created in 1993 to give theatres more written tools to guide new stage managers. Copies are available from Theatre Ontario for less than $10.00. Leading the way for many stage manager networking and training opportunities is Winston Morgan, author of an exceptional new book. Stage Managing the Arts in Canada delves into the intricacies of a production as it unfolds from before preparation week to the final performance. We asked Marilyn Lawrie to review the book (Equity stage manager, teacher, Talent Bank workshop leader, and Theatre Ontario President). "I am amazed and impressed by the wealth of information, checklists, prep tools, helpful advice and humourous theatre cartoons in this very Canadian resource book," said Lawrie. "I particularly enjoyed reading the essays by experienced stage managers which explore the specific demands of musicals, theatre for young audiences, special events, assistant stage managing, reading music, and repertory theatre. This is the best reference manual and learning tool that any theatre teacher, school or theatre company could have at their disposal for new as well as experienced stage managers. Recently at the Stirling Festival, I was pleased to see that my ASM had received this book as a gift from a cast member on a former show." Stage Managing the Arts in Canada is available at Theatre Ontario and TheatreBooks and retails for $29.95. Winston Morgan is also the founder and coordinator of S.M. Arts (Stage Managing the Arts), an annual conference (to be held in Toronto March 10-12 and 16-18 at Equity Showcase) and professional development opportunity for stage managers. He also created a new website with resources for Canadian stage managers (www.smartscanada.com). Morgan pioneered and helped to build the Apprentice Trust Fund whose goal it is to sponsor stage management apprentices in Canada. Morgan added, "every Equity stage management apprentice who received an apprenticeship credit in 2000 or who will receive a credit in 2001 can receive a free copy of this book courtesy of Canadian Actors’ Equity Association." In Morgan’s twenty-five year career as a professional stage manager, he has worked throughout Canada in theatres, large and small, on commercial and non-commercial projects, festivals and special events. Last year his peers awarded him the Larry McCance Award in recognition of his stage management career and S.M. Arts training program. Morgan says, "it takes years to become an excellent stage manager. In addition to learning the necessary technical, managerial and organizational skills, you have to develop your own stage management style and personality. Your approach will reflect your different life experiences, expectations, impressions, methods and stage management experiences. The book reflects the vast wealth of knowledge of stage managers across the country and is designed to help stage managers, assistant stage managers, apprentices, and students apply and improve their craft." Begun in 1994, the idea for S.M.Arts (the annual Stage Managing the Arts conference) originated with Winston Morgan – a stage manager who had collected lists and information over twenty years. The first S.M.Arts conference created checklists and course materials that were published into Guidelines and essays of what to do in various stages of production. "Your career as a stage manager can be an isolated one, with few opportunities to network with other stage managers and no supplementary training or workshops after you’ve completed your formal education and apprenticeship," said Morgan. "Participants in the S.M.Arts conference have enjoyed the opportunity to network with other stage managers and to benefit from the vast knowledge of experienced stage managers in this country." S.M.Arts conferences have taken place annually in Toronto since 1994; and in Edmonton, Regina, and Vancouver with plans to travel to Calgary and Montreal this year. The Toronto S.M. Arts conference (Mar. 10 - 12 and Mar. 16 - 18 at Equity Showcase Theatre) is open to any stage manager or individual interested in stage management. Call (416) 533-6100 for more information. Theatre Ontario’s website features other recommended reading and websites for people active or interested in theatre at www.theatreontario.org. MEMBER PROFILE ANNIE REAUME by Kay Kanbayashi One woman, her two boards and her passion. Chatham-based, Annie Reaume joined Theatre Ontario in 1989 and along the way, she has built a remarkable list of accomplishments: actor, director, stage manager, set and costume designer, and producer. She has her cousin to thank for getting her involved in community theatre. After coaching him in vocal lessons for a musical theatre audition, she decided to try it out herself. Annie says, "I’ve been involved in theatre ever since. I like it because I’m good at it. I like the people and the creativity that comes from a collaborative process. I’ve found a really exciting outlet in my life." Annie attended Theatre Ontario summer courses and studied with Ron Cameron and Richard Howard. Through these courses, she has learned a lot about acting, creative process and directing. Annie explained, "I took a week-long course with Richard Howard but instead, stayed for six weeks. Richard’s musical director was unable to do The Fantastiks, so I did it. It was the hardest work I ever did. I was at the piano about 8 hours a day, but I got to work with the most incredible people. I wouldn’t have missed that experience for the world". A jack of all trade, Annie loves whatever she is doing at the moment, whether it is helping out backstage, being on stage or promoting a production. Her favourite role is that of Sally Bowles in Cabaret (Theatre Kent, 1991). She also directed The Dining Room, which won 2 awards and was nominated for two others out of Festival in 1996. She won best actress in 1995 for her role as Linda Loman in Death of a Salesman. But Annie’s involvement in theatre goes beyond the stage. She has sat on the board of Western Ontario Drama League (WODL) for a number of years and is currently the past president. Since 1985, Annie has been attending WODL festivals and calls herself an "all-weeker". "I attend the entire week of the festival whether I’m in a production or not. The festival has so many different aspects to it. There are friends I have made at festival who I see only once a year and yet every year, it is just like yesterday. The camaraderie, the education – this is the place where I learn the most about theatre every year, from the adjudicators and from my friends." However, Annie also confesses to the other aspects of Festivals that she loves – the parties, including her small mid-week brandy party she hosts. Acting and directing are two things that Annie loves the best. Asked how she got started in directing, Annie replies, "Nobody would hire me to act. Not really. I had done a lot of work backstage and I just felt I had something to say that I couldn’t say as an actor. WODL has what we call Mini-Fest – a weekend workshop where 6 groups put on the same one act play. New actors and directors and risk-taking are strongly encouraged, so I started by directing a couple of these plays for Theatre Kent. Then I just ‘fell into’ Witness for the Prosecution when Theatre Kent couldn’t find a director. So I did it and it got standing ovations every night". Annie also explains further why she enjoys directing. "In directing, you have to know everything, be able to communicate exactly what you want to everyone and be a psychologist in order to figure out how to get just what you want/need from ever actor and crew person. It is actually a lot like teaching. I think that is why I like directing. I get to teach." The aspect of teaching comes naturally to Annie, where for the past five years, she has been teaching Grade 9 & 10 English, Drama and Religion at Ursuline College. She incorporates much of her theatre experience in her classroom when teaching as well. "Putting drama into an English classroom is fun. I am often the teacher who introduces the students to Shakespeare and I make it fun and understandable." She also uses the same techniques she uses as a director to get the class where it needs to be. She thoroughly enjoys working with students and innocently jokes, "I steal my best ideas from high school students." She has stage managed or directed school productions for the past four years and she sits on the local Sears Drama Festival Committee. She also uses her theatre experience in the Heritage Festival in Chatham where she re-enacts the War of 1812, where Annie adapts and directs students in fractured Shakespeare performances for Heritage Day’s Faire at the Forks. In 1998, Annie took on a new challenge by starting up her own independent theatre company called Two Boards and a Passion. The Diaries of Adam and Eve by Mark Twain adapted by David Birney was her first production. "We have taken the play to several spots in Chatham including summer theatre at the Chatham Cultural Centre and we played a Windsor Fringe Festival." She is currently producing another new production with a friend to take on the Fringe circuit. RECOMMENDED
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