This place in San Antonio is awful. Just awful, for my show. Our tech rider says 30′ depth, we get…..17. I don’t know who decided it was a good plan, my boss or the presenter, but who ever thinks a show speced for 30 will fit in a 17, needs thier head examined.
So, I setup my lineplot, which is based on the house hang that I got in the tech specs. When I arrive, what do I find? That the previous hang is in, the house plot is not right. The pipe I wanted my screens and legs on is an electric, some other stuff is in the wrong place, and we have a union crew and a double purchase system, so it requires 2 loaders. Jeez, WTF, seriously, WTF
To fix the fact that the screen shots are somewhere in the range of half what they are supposed to be, I had to bounce the upsatge one off of 2 mirrors jury rigged together, and the downstage ones are matching the size and barley fitting on the 10ft mark Downstage of the screens.
On top of that, apparently house management doesn’t think things through. Like if the crew isn’t here, or the work lights on stage are on, don’t let the kids in. I walk in at 25 to supposed house open, it takes me less than 5 minutes to get the show up, and there are kids sitting in the balcony already. And since I was 5 minutes later then 1hr, i am going to get chewed out, like I could of stopped it. Apparently this isn’t uncommon as one of the crew was telling me that yesterday a show started 5min before the crew showed up. The tech info states that the house opens at 30 to show, isn’t that what was supposed to happen.
Once the show started, in walks another load of kids, noisy as hell, with the ushers doing nothing to stop em.
Ugh, to top it all off, we are in the smaller of two theatres. The other one is huge, and currently dark, why couldn’t we have been in there? 530 loadin, 945 show, oh and an extra show added at the last minute and by last minute I mean after loadin, for 1145, and a 630 with loadout.
The other theatre fits it’s name, the majestic. It is fucking gorgeous, like breath takingly gorgeous. The house is so buetiful, it looks like the outside of a itialian square. The stage is large and has plenty of linesets, it’s is beautiful.
Ugh, I really hate this part of the job, I can’t wait to get home and be done with this show, it’s getting near the end, shit is starting to piss me and the rest of the cast off.
We have a party in NYC the night before we all go home and fi is coming. I haven’t seen her in a while and I miss hanging with her, we had our ups and downs, but alas she’s probably one of the few people i know that understand the hell that this job can be and is at some points.
Touring is a special kind of hell, one where fun, pain and suffering all hook into one thing. And I am thinking of doing it agian, but as an ME on a full crew, instead of this one man show thing which is driving me up a wall. I want to run a venue someday, touring is definitly a good way to get there, but I just need to buckle down and do it, do it well, and do it with flair.
Most if not all local crews seem to like me, I am kind, geniune and upfront. I don’t sugar coat, but i can be diplomatic if needed. I am flexible and I am very good at getting buyin on my plans. Just because I am the boss, doesn’t mean can always get what I want. When i worked under people, it made me more enthusied when my suggestion or plan was implemented, even if in part.
As I once heard said, “authority should never be used as a club”. I can over-rule alot of things on tour, especially when it comes to loadins and technical aspects. But doing so is almost always against what the cast wants and, unless it’s really important and every can see that, it’s not a good idea.. I guess I learned in organizaltional behavior that I am an expert democratic leader, I take people’s opinions add my own expirence and ideas and come up with an executable plan. Also with this comes the ability to bend the plan if it is not, in application, going to work. I learned something else in my life; there are many ways to do things right. Accpet that one truth and appriciate what people bring to the table. It might suprise you that a fresh faced hand may have an idea to save an hour of hard work. Expirence only helps refine ideas, it rarely creates then. Expirence can tell you if the idea will work and if so, how to execute it and what to test before conutinuing on it. Ideas should never be rejected no matter where they originate. Suprisingly even corporate entities see this, if they are brainstorming , any and all ideas are written on the whiteboard or flipchart and considered. Ideas also have a tendency to build on each other, so a irrational and impractical idea can, through another person’s expirence become an actionable idea that will work. It happens, I’ve seen it.
I learned from IT about paper prototyping, and this ties into theatre very easily. In paper prototyping, a human playes the role of the computer, maniplutating thr interface as needed. In theatre, having a person hold up something that will be permently attached follows from this, and also from expirence. It makes trial and error really easy and quick, almost rapid prototyping like. Another thing is that no matter what you are trying to do; someone, somewhere has already done it. 90% of the computer code out there is copied from someother source and combined in a new way. The other 10% makes the rest work together.
My style in theatre is an odd combination of quick thinking, planning, and foresight. No, planning and foresight are not the same thing to me. To me foresight is like not painting yourself into a corner, and planning is like a setting a route. Different levels, although a good ammount of foresight can add up to a coherent plan. The key, and the definition of the style, comes out of the combination of those things and how much of each we use in a given situation.
In addtion to be able to see the big picture, being able to monitor different groups is a huge asset. I can easily jump between things and not lose where I left off. This both a blessing and a curse. Although I can do so many things, I sometimes don’t spend enough time on one thing to see it through. I think I have it firmly undercontrol right now, and it is serving me very well, especially in fucked up loadins like yesterdays was.
So this post has gotten really really long, and I don’t know why. Probably because my life has got flipped turned upside down in the last 6 months. Tour Is hard, very hard, you just don’t know how hard it is till you do it. It’s hard in so many ways. Like imagine picking 5 random strangers and then seeing no one but them for 6 months hard. Try having your entire life, and all you have, fit into a suitcase, a duffle bag, a laundry bag, and a backpack. Doing laundry is fun, I did mine in Mississippi, that was about a week ago, some guys went to a laundromat yesterday, which is also apparently a diner, and a car wash. I try to do mine in a venue so it’s free.
Personally, I am tired of being alone. And I mean that in more ways than 1. On this tour, I don’t fit in as me. I have to hold somethings back, pretend I like things I don’t, and bite my tounge on more than one occassion. Some of this goes with being the TD, but sone so goes with living with 4 true actors, who eat nutella and insist on sub-way. One even carries his own food and goes to a super market almost daily. I think that’s got to be expensive. The other 1 is alot older than the others and i think humors me more than he likes to admit. I have a sense of humor that doesn’t go over well with this group, it would work well if there were other techs, but not actors who are fresh out of school like many of these guys are.
I sometimes find that those trained in the so called “ivory tower of academia” don’t often know what really goes on the real world. Now, school has it’s place, but allowing students to work in a perfect world, where roles are cast along who is better, or plots are hung exactly as drawn is misguided. When teaching how to draw a plot, it makes sense, but when it is being hung, getting a phone call or email from the ME saying, we can’t do that, should not be a problem. On the other side of the coin an ME that sends that message better be damn sure it can’t happen, and offer an alternate solution to the angle, or placement or effect that is desired. I have met really great lighting designers that have MFAs, I have also met some that I wouldn’t trust to place an already assembled floor mount that have MFAs. I find that the good ones worked for a while before going back, or worked then went back with no bacholers. Yes that is possible. I have heard stories of designers who couldn’t even focus a light.
Another thing that pisses me off, is when a designer takes minutes on a light when the tech is competent and moving quickly. When I designer takes a minute just to figure out what the fixture is doing once he finds the channel, he needs to reexamine his life choices. If you drew the plot, you should know what each fixture needs to do , atleast in part. I’d rather we finish 89% of the plot in 4 hrs, and then spend an hour on the last 10 or so. Not 20min on 1 fixture, at the expensive of my and the crews time. USITT says that you should be able to focus a fixture in 14 seconds. My thoughts on that are that I don’t know ANY desgners that can move that fast. I think I know a few techs that can move that speed, but they can only go as fast as the designer can. In my opinion. A good designer can work 2 or 3 lights at a time, and keep the focusers busy the entire time. While one is moving the other one is focusing a light. This is efficent to me.
On another note, I want to talk about the union. I like just about every local union guy I have had the pleasure of working with. Maybe it’s because we are small patatoes, but they are good at what they do, and they take problems on stride. I find that being very upfront with the steward about the plan, the crew divisions, and making sure everything is going swimmingly and with in the rules works well. If you are very honest with everything, they help you out. I feel bad about my previous attidtude toward the union cause of the one in Philly, I have heard from other locals that they have thier issues with the one in Philly. I especially like NYC local, those guys have thier shit together. I have thought about going union, if I do, I will probably want to work up to being the ME at a house. It’s the only way to get the big houses, but I always wanted to teach. But wait, no one said they had to be exculsive, I could be a part time professor in lighting and also be the ME somewhere. Must look into that.
My future plans are to get another tour, hopefully with vee as an electric 1, and move up from there. There is another tour I am looking at, but I am still wishy washy on it. The other option is cruise ships. I am young, I am unattached, nows the time to do it.
Well, I think I’m spent, I’ve covered so many topics but alas it’s all written down now. Just a little about how and when this was written. I am currently sitting in my both, or box, and typing it on my iPhone. I have been working on this during the first show and the second one almost the entire time. I do go back to add to the paragraphs that deal with the topic in my head or mention something I forgot, or to proofread and clean up, but mostly the post comes out of my head in the order it is on the page. Finished before end of 2nd show!
Comments always welcome.
Next post is tbd; this was really for tour, which end ls in 10 days.



















