Opera tips

[SMrose]

Not only do I get a recording of the opera, but after we paper-tech and a few days before tech rehearsals begin, I'll use the recording to practice my cue calls outside of rehearsals.  Since opera is dictated by the music, I feel: unlike a play where an actor can change the timing of dialogue, opera--to me--remains very consistant in timing.  In practicing my calls to the recording, this helps me be very prepared so that I'm not wasting valuable time (try working with union musicians and union stage hands at the same time!).  The marked entrances of all principals, chorus and supers is paramount!!--others mentioned this and I can't emphasise it enough (the cast has to be on time for entrances--which means you make sure they're "waiting in the wings" or where ever else they enter from) or it's an "opera meltdown".  I agree with others: there is nothing quite like SMing opera.

[vicky17ad]

can someone ell me more about  the www?? as i have never heard of it and my tutor has also never heard of it, i am a student at the RSAMD and we have an opera school and produce 3 large operas a year.

thanks

[BlantonRK]

Vicky,
The Who/What/Where, or WWW is a master document which tracks all elements of a production. Check out ljh007's sample in the "File Cabinet/Uploaded Forms/WWW form...anyone?" thread. Some companies only use a Who/What/Where as an archive document and for others, it is the running sheet for the ASMs.  Everyone has their own way of formatting the document, and you should read the comments in the thread for opinions of what should or shouldn't be in there and why.

[babens]

Concerning the orchestra

Find out whether actual curtain time is the same as published curtain time.  I have encountered several companies that contract the orchestra to start 5 minutes after the time printed on the tickets, as they are well aware that a production in a theatre seating anywhere up to 5000 people is not going to start on time.  So rather than paying the orchestra for that almost inevitable house hold, they just assume that the house will need to be held at least five minutes.  This can mean the difference between squeaking in right under three hours or going into overtime for those biggies like Carmen.

[Maribeth]

Concerning the orchestra

Find out whether actual curtain time is the same as published curtain time.  I have encountered several companies that contract the orchestra to start 5 minutes after the time printed on the tickets, as they are well aware that a production in a theatre seating anywhere up to 5000 people is not going to start on time.  So rather than paying the orchestra for that almost inevitable house hold, they just assume that the house will need to be held at least five minutes.  This can mean the difference between squeaking in right under three hours or going into overtime for those biggies like Carmen.

That is a really good note- thanks.

[Maribeth]

I have been looking back at this topic, and I love how much great information is on here!

Recently, my SM suggested that the SM team spiral-bind our scores (instead of keeping them in a larger binder), and I think it's really useful. The score is a lot more portable that way, and I can walk a part in a cover staging rehearsal without lugging my whole binder with me (helpful when running the show as well). I still keep a show binder with all of the other paperwork, but having the score bound separately makes it a lot easier to tote around.

Concerning the orchestra

Find out whether actual curtain time is the same as published curtain time.  I have encountered several companies that contract the orchestra to start 5 minutes after the time printed on the tickets, as they are well aware that a production in a theatre seating anywhere up to 5000 people is not going to start on time.  So rather than paying the orchestra for that almost inevitable house hold, they just assume that the house will need to be held at least five minutes.  This can mean the difference between squeaking in right under three hours or going into overtime for those biggies like Carmen.

This also can affect the chorus call time on an AGMA contract.

[cschott]

Just FYI, Ricola no longer provides those lozenges for free.  They're still quite discounted, but not free.  You pay $75 for 8 tins of about 250 each.  Not too shabby, but it makes the whole thing more difficult - you can't just take on getting them yourself, you have to get someone to handle paying for them.