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[scottstephens]

Hey guys,

    So I was hired to bring in a system and run sound for a local school musical. And they got a really god deal because one of the guys I work with had a daughter who was staring in the show and volunteered his time; obviously saving the school several hundred dollars.  Anyway, we do several rehearsals and several shows. And all went well for the most part. One of the kids dropped a pack and it would lose sync occasionally after that, and some of the kids were very timid and their volume was low, but it was there.
    So after the first public show, the school board Pres. comes up to me and just raves that he can hear everything for the first time. Goody! And lots of other positive comments from staff and the public the rest of the run. Yippie!! The best comment was "wow, it is so intelligible, I can understand everything, and great job blending the vocals.  Yahoo!!
   The director got upset because people were commenting on good the sound was; not how good the play was, the kids, whatever.  By the Way, I gave myself a "B" on the audio just because I missed a few things like: Oh, this girl is really soft on this one line, or this kid really needs verb and I can't find the right setting to make him pop. Anyway, I've just never had anyone get upset with me for doing my job.  Drama Queen.  I just thought it was funny I did what I was hired to do and stole someone else's thunder by trying to remain invisible and just do my job.

Scott

[Mark Cadwallader]

"No good deed goes unpunished."

[William Schnake]

Scott, I have done literally 100s of plays and musicals over the past 30 years.  One thing that I have found is that for many directors, not all, it is about them and the show and cast are second.  I have one director that I have worked with 3 times over the years with each production being a really good show.  That being said, when this particular director gave negative notes to the cast he would end them by saying 'You are making me look bad.'  It was never about the production just his ego.  Needless to say I will no longer do his productions...not enough room in the room for my ego and his.   

My best advice is don't get to excited about it.  Sounds like you did a great job.

Bill

[Mike Caldwell]

  I have one director that I have worked with 3 times over the years with each production being a really good show.  That being said, when this particular director gave negative notes to the cast he would end them by saying 'You are making me look bad.


Bill

What age group was the cast.....not that it makes it right but at least hope it was an adult aged play cast.

I do a run of school plays each year, mine all seem to hit in March.

I'll come in for the tech and dress rehearsals and then it's show time for two or three performances.

I'll get the scripts ahead of time, assign mic numbers, make some notes here and there, go over ahead of time with the directors about any mic swap outs during the show between cast members.
I'll do up to 24 headsets sometimes.

It really helps to have someone that somewhat knows the play back at the board with you turning the script pages and giving some cues on busy scenes.

[William Schnake]

What age group was the cast.....not that it makes it right but at least hope it was an adult aged play cast.

I do a run of school plays each year, mine all seem to hit in March.

I'll come in for the tech and dress rehearsals and then it's show time for two or three performances.

I'll get the scripts ahead of time, assign mic numbers, make some notes here and there, go over ahead of time with the directors about any mic swap outs during the show between cast members.
I'll do up to 24 headsets sometimes.

It really helps to have someone that somewhat knows the play back at the board with you turning the script pages and giving some cues on busy scenes.

Mike, unfortunately they were high school age 'young adults'. 

Bill

[Chris Hindle]

I had "one of those" once.
Again, favor for a friend.
My core is R&R, not plays.
I did what I could, and by the comments i was getting, I done good.
4 rehersals, and a 3 night run.First night intermission, and the director comes over bitching about all the comments he's getting from the parents.
Audio this, sound that, can hear my kid great, etc..
I ask him "What's your problem, isn't that my job here?"
He answers "Ya, they all think you're a fuckin hero. What about all my work?"
I answered him "I'm here to make the kids look good. What are you here for?"
i didn't see him for the rest of the run...

[frank kayser]

These stories bother me in these folks can't accept success for all.  Just so sad.
Maybe if there was always good sound, the audience would go back to reviewing the show.
If these folks are building their career success or on a foundation of bad sound and other mediocracy, they've peaked. I pity the fool.
What happens if a support actor outshines the star?  Berate them for being too good, too?
This seems historical in theater (and life) that one tries to upstage their perceived rivals, while many times, those "rivals" never see themselves as such.


Scott, Bill, and Chris - and all the rest of you out there. Congrats for being one of those that did not know they were in the competition: just doing their normal best they can - even on a gig one is not used to doing... Pulling one's own weight.


Sad.  I just don't get it.

[Tim McCulloch]

I came to be the IATSE stagehand "A1" and "Sound Designer" for a youth theater company that uses our PAC's 600 seat theater.  I think I did 75% of their shows for 5 seasons ending about 7 years ago.

Because my main gig is audio I brought a better game to the table and supplemented the PACs limited mixer inventory with an M7 from my day gig.  The end result was directors mostly loved it and for about 3 seasons, parents/families still noticed the improvement.  By and large the director comments were good ones, typically mentioning that I was able to get a better over-all level for the quietest performers and that meant fewer parent/family complaints.  They usually liked my orchestra balance, too, but that was another matter...

[Chris Hindle]

What happens if a support actor outshines the star?  Berate them for being too good, too?

You're kidding, right?
I've been with a 5 pc. R&R band opening for someone you may have heard of. "You get the first 6 strips of my board, and there's a box of beat up 57's and 58's. No sound check, you don't need one."
And he kept the masters around 75% for our set.
Still sounded a shit load better than his bunch...... And the promoter asked what broke in the PA after we left the stage...
"Nothing, just that Betty Crocker out there couldn't mix a cake, never mind a band."

i know you were talking about theatre, but entertainment is rife with egotistical wanna-be's.
Oh, and thanks for the compliment. I'm not a star, i just get paid to make the star look good.
Chris.

[Scott Holtzman]

You're kidding, right?
I've been with a 5 pc. R&R band opening for someone you may have heard of. "You get the first 6 strips of my board, and there's a box of beat up 57's and 58's. No sound check, you don't need one."
And he kept the masters around 75% for our set.
Still sounded a shit load better than his bunch...... And the promoter asked what broke in the PA after we left the stage...
"Nothing, just that Betty Crocker out there couldn't mix a cake, never mind a band."

i know you were talking about theatre, but entertainment is rife with egotistical wanna-be's.
Oh, and thanks for the compliment. I'm not a star, i just get paid to make the star look good.
Chris.

Protect your artist, it's our job description.  Everything else is ancillary we just happen to do it with audio.

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