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The Changing of the Guard – Training subs and replacements on a show

 

Last month, in Tips and Tricks for Subs and Replacements, we discussed how to put your best foot forward when learning to be a sub or replacement on a show. This month let’s look at the other side of the equation, when you are the one running the show and someone new is coming in either to sub for you, or to take over the show entirely. We will mostly discuss training subs in this post, but the training principles and tips should apply in both scenarios.

Why is having a well-trained sub so important? Well, the old saying “the show must go on” applies equally on stage and backstage! Just as actors have understudies for their roles, it is important that no one person’s health or availability is the “single point of failure” on a production, such that the show literally cannot go on without them if they must call out. Additionally, you don’t want the show to simply “go on” without you. You want it to be as good as it is when you’re the one mixing! When your sub is mixing the show, they are representing you, your work, and the entire sound department, so you want to know you have someone who is going to do their best job and be a good ambassador on your behalf.

Think of your show as this tower, and don’t let one person’s absence be the block that breaks it!

I like to break the training process into 3 phases: Pre-Prep (before your sub’s first official day), Training (when your sub is learning to mix the show), and Hand-Off (when the sub finally gets “hands-on faders” and starts mixing the show). Depending on your sub’s prior mixing experience, this process can take anywhere from a few days to a month. Typically, I will ask for 16 performances (2 weeks, assuming 8 shows a week) to complete this process, and I have this is the typical timeline in NYC.

Phase 1: Pre-prep

There is a lot you can do to make things easier for your incoming sub before they are even hired. The first of these is to maintain a good mix script! If you read my last blog, you know that I take paperwork and formatting very seriously, because they’re the best tools we have to convey all the information that is needed to mix the show correctly. If your script is paper, think about making a digital version, or at least a scanned PDF. That way your sub can have access to all your notes as they put together their own copy of the mix script. Collect any additional paperwork or training materials that might be helpful to them and organize it all in some sort of shared folder. For example, if a new sub was to join my show, they would be added to a private Dropbox which has my mix script, a blank script, the score, face pages (for learning people’s names), startup/shutdown instructions, show recordings (audio-only and conductor cam), and hands videos that my current sub filmed when he was training so that he could reference them while practicing. Back when I was a stage manager, one of my sayings was “the book matters more than you do,” and this idea certainly applies here. When your sub is mixing for real, you won’t be there to answer questions, so as much of that info as possible needs to be written down and easy to reference.

A sneak peek inside the contents of the “RoA_SoundSubs” Dropbox

Phase 2: Training

Once your sub is in the building and training has officially begun, you will want to give them at least a few performances to get familiar with the show, the mix, the pace, and the sound before they start practicing. They should watch the show from the audience at least once before moving to FOH to shadow you. Once they are shadowing you, this is when they can be building their script, taking notes, and asking questions. On Rock of Ages, I had a small table with a video shot of the stage over to one side, plus our console had an overview screen that I could angle towards my sub at the table. This allowed them to watch both the show and a mini-version of my DCAs moving in order to see my strategy for making certain pickups in real-time, and without having to be right on top of me at the console :). If you’re able, try to explain certain things to your sub in real-time while you’re mixing. The more context you can give your sub for why you approach scenes the way you do, the easier it will be for them to mimic your moves. Everyone learns their own way, so give your sub room to do the prep they need, whether that’s watching you, marking up their script, or mixing along with pennies or a practice console. If they are newer at mixing and need more guidance, do your best to instruct them on what to focus on as they train, and what notes they should put in their script to make things as clear as possible.

Phase 3: Hand-off

It’s finally time for your sub to start doing some real mixing! Rather than just have your sub dive in head-first and mix the whole show their first time, it’s best to give them bits and pieces of the show to start with and build up from there. There are 3 common methods that I know of for handing off a show: “top-to-bottom,” “bottom-to-top,” and my personal favorite, “inside out.” If you are handing off a show “top-to-bottom,” you will have your sub start by mixing the beginning the show, and then you will take over and do the rest at a logical “hand-off” point, such as during an applause break. The next night, they will again start mixing from the top, but go on for longer before handing back to you. This way, they are always mixing the show in sequential order, and they will always be starting by mixing a part of the show that they have done before. This can help to build confidence, depending on your sub’s experience and personality. “Bottom-to-top” is the same method, just backwards. Your sub starts at the end of the show (for example, with the finale) and then your “hand-off” point moves earlier and earlier. Handing off “bottom-to-top” can be great because the regular mixer sets the tone for the show, and the sub has a benchmark that they can follow once they take over.

Finally, handing off “inside-out” is when you have your sub start with mixing small sections in the middle of the show, then build out from there until they reach the “bookends” of each act. I love this method because I can tailor my sub’s hand-off schedule to them more specifically. It also has the same advantage as “bottom-to-top” where I can start things off and give the sub a sense of where their levels should be that night. Typically, I will first give my sub some easy stuff to mix in the middle of each act, such as intimate dialogue scenes and solo or two-character songs. I’ll try to make sure that they get a section with some sound effects if the show has those so that they can get used to juggling that responsibility with making their pickups. The next day, I will either add entirely new chunks of the show to their list or extend the length of the chunks they are already doing. Again, this is dependent on the content of your show and the experience of your sub. In this method, the original A1 will find in a few days that all they are mixing is the beginnings and ends of each act, and finally, the whole show will be “handed off!”

These methods all take some advance planning to make sure that your hand-offs are clean, and it’s good to make sure your sub, stage manager, and music director are all privy to the plan each night. You don’t need to go into major detail about who is mixing which exact lines of dialogue, but those folks will be able to give good notes about what they are hearing and what might need adjusting between you and your sub.

Clean hand-offs are key here as well!

 

Optional Phase 4: Noting and Brush-Ups

If time allows, try to make sure that your sub-mixes at least one entire performance by themselves prior to your planned absence day, if applicable. If things are progressing well and your show is fully handed off, the last thing I like to do is give my sub one show where I am not at the console with them, so that they can practice “flying solo.” At this show, I will sit in the back of the house so that I can get to the console quickly if I need to, but mostly I will try to write my notes down and stay out of their way! This really is the only way that your sub will learn to solve problems and make decisions without you there to help, which is exactly the goal of training them in the first place!

Once your sub is fully trained, you should make a schedule for them to come in and mix a brush-up performance every few weeks, with you noting them from the house. Even if you aren’t planning to take a day off, it’s important to make sure your sub stays fresh, and that can be hard to do if they go months without mixing a performance!

What if your theater isn’t in the habit of hiring and training subs? I know from personal experience that it can be hard to sell a producer on this idea, especially in low-budget venues or on short show runs. If you are met with resistance, ask your producer to think of it this way. Training a sub is like taking out an insurance policy for the show. Putting in the time and resources to train a sub in advance will likely result in a higher quality mix than if someone untrained must attempt to mix the show “cold.” Or in the worst-case scenario, the producer might have to cancel an entire performance and refund everyone’s tickets. Hopefully avoiding both these outcomes is in their best interests too!

On a side note, one of my sincerest hopes is that when theater returns post-pandemic, the need for trained subs, paid sick days, paid personal days, and thorough contingency plans will be taken much more seriously by everyone. No one should ever feel like they must “power through” if they aren’t feeling well, and I think that we all now realize that having a sick person in the building is not worth the risk it poses to everyone else! No more “war stories” about sick A1s trying to mix with their sinuses totally blocked or with a nausea bucket next to them (I, unfortunately, speak from personal experience on both). Also, we have always known that this work can be mentally taxing, and I hope that when we reopen workers will feel that they can advocate for themselves better in that arena too, whether by asking for support outside of work or taking a mental health day without fear of repercussions.

I hope this post and my previous blogs have helped to shed some light on this important aspect of running shows! Whether you are the sub or are training the sub, these tips and tricks will help you make sure that your show sounds the best it can, regardless of who is mixing it.

Producers:  Your job listings need to include pay

And that pay needs to be reasonable

I don’t know of a time prior to this pandemic that the entire entertainment industry was out of work.  It’s very difficult to think of when or how we will get back to work, and the grim reality is that many of the companies with which we are accustomed to receiving work will not be there when “normalcy” returns.  This means that when we do return to work, there will be more of us than available jobs.  My biggest fear is that producers will try to take advantage of these situations and offer new jobs at the lowest possible dollar.  It’s been happening since before the pandemic, and I’m afraid the situation will only get worse when those jobs are in higher demand.

First of all, when are we going to get to the place where openly discussing pay isn’t a taboo subject?

For as long as I have been searching for jobs in my professional career, the pay is almost always the last thing I find out about.  Why?  Why would producers hide that information?  Are they embarrassed about the rate?  Is it too low?  Is it illegal?  If the answer to any of these questions is yes, well then, producers, I’m here to say that you’re doing it wrong.  Your pay rate, benefits package, and special offers should be a selling point for you.  If you’re touting your company’s great reputation, clout, and place in the industry, but you’re not willing to share pay information until you’ve almost got a potential employee hooked, I can’t help but think that you’re taking cues from the Mr. Wormwood Book of Ethics, and my theatre buddies will know that Mr. Wormwood is not good company to keep.  Many of us begrudgingly go through the motions of updating our resumes and websites, collecting letters of recommendation, filling out lengthy applications, and making time for multiple interviews just to learn that after all that time, the salary was never worth it in the first place.  I don’t know about you, but when that happens to me, I feel cheated and duped.  I shouldn’t have to pass a series of tests just to find out what you’re willing to pay me if I’m offered the job.

Look, I get it, your company was hit hard too.  You’ve had to resort to Zoom theatre and other cheap programming just to keep the electricity on.  You’ve had to furlough many of your full-time staff, and you’ve been trying to live off of PPP loans for 11 months.  If that wasn’t bad enough, you are going to have to beef up your Covid-19 compliance when you are able to open again, and that will mean shelling out more money.  The thing is, though, there is a way to do this honestly and ethically.

If you are unable to offer a living wage for a full-time position (*protip—$30k p/y as the full-time Technical Director in Los Angeles County is not a living wage) you need to rethink your company’s structure.  If having a very experienced, top-of-the-line TD is a priority for you, you need to prioritize their salary first.  Commit to paying that person what they are worth, and they will commit to you.  Maybe the scale of your productions needs to come down.  Maybe the number of shows you produce needs to be adjusted.  Maybe you need to up your grant writing and donor outreach game, but the simple fact of the matter is if you cannot afford to pay an experienced TD what they are worth AND produce your dream list of shows at the same time, then you can’t afford either, and your internal structure needs to change.  If $30k is what you have to offer, and you cannot budge on that number, that means the job description needs to change.  This is not reasonable for a full-time job, but it could be reasonable for a part-time job, depending on the job requirements.  It could also be reasonable as an entry job for a recent graduate or even an internship.  Being able to make creative adjustments to facilitate the job security of your current and future employees is a really attractive prospect.  It also means that you can proudly display your pay rate on your job listings and know that you are being fair to your applicants.

Producers, you have to prioritize your people

All of us have been using this downtime to really explore those HR processes that have and have not been working.  We should all be very aware by now that “must-have five years professional experience” and “$30,000 per year” for a full-time skilled job are just two points that should not exist together in the same sentence.  If you’re saying to yourself, “It’s always worked for us in the past,” you should know that even if it’s been working for you, that doesn’t mean it’s working for your employees and applicants.  Companies that try to get by on the lowest possible salary have a high turnover rate usually due to employee burnout.  The employee that is receiving a lower than living wage rate is either trying to work as much as possible to pick up lots of overtime so they can make rent, or they’re working tons of side gigs and have little energy or will leave to perform adequately for their main company of employment.

The fact that we feel we HAVE to take the low-paying jobs so that we can get that “five years professional experience” is what creates the rat race that we desperately need to dismantle because when we all come back post-pandemic, that rat race is going to be much worse.  We will shift the reasoning for taking these jobs to “so that I can eat and live” and when we do so, we will be handing over even more leverage to the producers that think the technician/designer/actor/etc. that works for the lowest dollar wins.  Producers, you have to prioritize your people.  Be open, honest, and fair in your job offers, descriptions, and expectations.  Make sure a human is capable of living off of only your job.  Eliminate the need for side gigs.  Make the people the center of your budget—prioritize them.  Happy employees make happy companies, and there is no other version of this very simple mantra.

 

The ABCs of Women in Theatre

Maybe it’s the quarantine getting to me, or maybe it’s the fact that two of my quarantine cellmates are six and eleven years old, but for this month’s blog, I decided to go a little Dr. Seuss on you!  I’ve given you the name of a woman of theatre you should definitely know of for (almost) every letter of the alphabet.  I’ll give you just a taste of the genius that each and every one of these women were and are, but if I were you, I’d take these names straight to Google to soak up every bit of info you can after you read this blog.  Enjoy!

A is for Aphra Behn to start this off right.  She was a seventeenth-century woman playwright.  It seems she was a leader in feminism too and wrote on hot topics, arranged marriage, to boot.

B is for Bradley, Lillian Trimble’s last name.  Being America’s first woman director is what gave her fame.  She loved Melodrama.  To her, it was the best.  She broke into the scene with her play, The Woman On The Index.

C is for Cheryl (and her last name) Crawford, too.  She was a producer when for women, it was new.  She founded Group Theater and Actors Studio when she moved to New York from Akron, Ohio.

D is for Dianne, her last name is Glancy.  She’s a Native American Playwright, specifically, Cherokee.  She’s published over ten plays and written even more.  She also writes literature and poetry galore.

E is for Eugenia Rosenthal, she went by Jean, for short.  She pioneered a path of the technical sort.  Born in 1912, she was always a climber, she paved the way for women lighting designers.

F is for Frances Goodrich, you want to know her.  She’s a 1956 Tony and Pulitzer Prize winner.  She and her husband, and this takes the cake, won those two prizes for their Diary of Anne Frank. 

G is for Georgia, in this case, Georgia Stitt.  She’s an American composer, and she’s the real sh*%!

H is for Hrotsvitha, a very FIRST first.  To leave her unmentioned would be just the worst.  She’s probably the very first woman playwright, a tenth-century nun, her art was a sight.

J Jeanine Tesori and Lisa Kron are the first women writing team to win the best score for Fun Home.  Another first definitely not to be missed, this musical featured the first lesbian protagonist.

K is for Kitty Clive, a diva of her era, she was one of the first to play the lead in The Beggar’s Opera.

L is for Lorraine Hansberry and remember this one.  The first black woman produced play on Broadway was hers: Raisin in the Sun.

M is for Micki Grant, she helped pave the way.  She’s one of the first women composers of Broadway.

N is for Nell Gwynne, 1650 English born.  At 14 she hit the stage, acting, of course.

P is for Peg, Peg Woffington of England.  She pioneered “breeches” roles, cross-dressing women.

R is for Rebecca.  Can you say Lenkiewicz?  Have you heard of her 2008 play, Naked Skin?  It was produced at National Theatre on the Mainstage, a first for a woman playwright during that day and age.

S is for Sara Barielles, we all love this queen.  She led the all-women creative team for Waitress in 2016.

T is for Tony (Antoniette) Perry.  You’ve heard of the Tony Awards, right?  Same Person.  That’s scary.

V is for Vinette Carroll, she directed on Broadway.  The first black woman to do so, by the way.

Z is for Zelda Fichandler.  In 1950, she founded Arena Stage in Washington DC.  Arena Stage won the first regional Tony in 1976 and was the first to move to Broadway a show of their pick.

These women are heroes, bad-ass superstars.  Let’s always make history remember who they are.  Through pandemic ramblings, or word-press, or pen, keep spreading the word of these powerful women.

 

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