# I need an idea



## DHSLXOP (Jan 17, 2009)

Hi Everyone,

I'm putting together my calling script for this year's musical at school, but I'm having some problems doing it. A couple years ago, I started typing my scripts, to put the cues in through the computer (its easier to see), and this year is no exception to that. But, unlike past years, this year we will actually have cues that are tied to the score. I scanned the score already, so now I am trying to figure out how to build the two into one document that will work for me. Has anyone ever done this before? I know that for the full songs, I could theoretically remove the "text" of the song and just insert the score and follow that, but what about during scenes with underscore, where I need to be following the score (to follow vamps and repeats, for cue purposes) and the text at the same? If anyone has any ideas, please let me know!! 

Thanks in advance!


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## willbb123 (Jan 17, 2009)

I've never called a show before, but for Nutcracker last year I had to watch for my lighting cues. It was pretty easy for me because I had designed the show and knew the action on the stage and what the music sounded like. 

Because is a musical the run times should be about the same every night. What I have seen some stage managers do is start a stopwatch at the beginning of the show, then write down at what time each cue happens. Because the show time will be slightly different each show you cant always call the cue on that time, but it will atleast give you warning that it is coming.


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## rochem (Jan 17, 2009)

I've called a couple of shows where I had to use the script and the score, often at the same time. I generally don't write my cues on the computer, because I think it's actually easier to distinguish typed vs. handwritten, rather than typed vs. typed in a different color. And it's easier to make on-site changes, like calling a cue 10 seconds earlier or writing in a warn. But that's just personal preference. However, I have typed up my scripts and scores before. Basically, I would paste one line of music directly into the script for an underscore. I would attempt to strategically place the line of music so that I could follow for the most part right along with the dialogue. So, for example, if you Vamp until a certain line, then put the Vamp and the music following it immediately after that cue line. Then when reading down the page, you will see the line of music and be able to cue off that. It's kind of hard to explain, so check out the attachments below, taken from the Phantom of the Opera score (that's where I got my original idea). Sorry for the quality of them, but you should be able to see the dialogue vs. the music.

Yes, it is time consuming, but it will make your show a pleasure to call since you dont' have to keep looking forward and back pages to get to another part. Also, one other note. I'd be cautious about putting TOO much music in your calling script. I always have Orchestra-only music, like the Overture and Entr'Acte and Bows, in my book as written. But other than that, I try to remain in the script as much as possible. For a full-company number for example, I will use the book as much as I can, and add in music for a musical interlude or something where i really need a cue called exactly correct. This is basically because if when you look up at the stage, it is easy to lose your place in the book with music since it is moving faster and is always moving. By show time you will probably know the general tunes of the songs, so it's easier for me to just use the script rather than worrying about getting lost in the score. But of course, whatever will get you the best show possible is obviously the best option. What works for me and my shows may not work for you and your shows.


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## kiwitechgirl (Jan 22, 2009)

Look closely at the score, and you may well find that vamps and repeats actually have the text written in over the top of them, or at least sections of the text, as the conductor has to have something to follow! I'm working on _La Cage aux Folles_ at the moment and a lot of the underscoring has the text there, which is extremely helpful. Otherwise, what I tend to do is talk nicely to the conductor and get them to give me a signal (I have a conductor monitor at my desk, which is invaluable) when they're on the last vamp or repeat so that you know where you're up to without having to have a messy amalgamation of script and score. I always combine script and score when I'm calling a musical, and I tend to put in as much of the score as I can (all the songs at least) - but then I'm a trained musician and even if I do lose my place in the music I can find it again very quickly and without any trouble. Underscoring is always a tricky one to work out how much you need; my usual method is to not put my prompt script together until quite late in the rehearsal process, by which point I tend to know how it's going to work and how much of the underscore I'm going to need.


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## DHSLXOP (Jan 23, 2009)

kiwitechgirl said:


> Look closely at the score, and you may well find that vamps and repeats actually have the text written in over the top of them, or at least sections of the text, as the conductor has to have something to follow! I'm working on _La Cage aux Folles_ at the moment and a lot of the underscoring has the text there, which is extremely helpful. Otherwise, what I tend to do is talk nicely to the conductor and get them to give me a signal (I have a conductor monitor at my desk, which is invaluable) when they're on the last vamp or repeat so that you know where you're up to without having to have a messy amalgamation of script and score. I always combine script and score when I'm calling a musical, and I tend to put in as much of the score as I can (all the songs at least) - but then I'm a trained musician and even if I do lose my place in the music I can find it again very quickly and without any trouble. Underscoring is always a tricky one to work out how much you need; my usual method is to not put my prompt script together until quite late in the rehearsal process, by which point I tend to know how it's going to work and how much of the underscore I'm going to need.



It's weird, because not only does MTI NOT publish text over the underscoring, there are times where they don't even publish the cue line out of a vamp. (not to mention that there are cues in the score that I am using {piano/vocal} that are not in the conductor's score...) I've always wanted to do a conductor camera, but because my booth is 2 stories above the stage (and 3 above the pit), I've never been able to do it. (maybe next year when our new theatre is done...) But thanks for the reply, since we go into tech this coming week, I have started to put my script together, and while I don't think it's the best way to do it, I think I have pretty much found a way to do it in a way that will work for me.


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