# What do you do when a director wants to be in the booth?



## ricc0luke

I am a freshman in high school, this is my first time production with the high school.

At out theater, there is room for two people in the booth and still have room to breath, but the director thinks that they should by in the booth with both me and the light/sound tech. (At our theater there is only one booth.)

What should I do? Am I wrong? Is it ok for the director to be in the booth?


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## digitaltec

Well, it depends. Sometimes directors like to sit in the booth and help you out to become a better tech or sometimes they like to be in a location that they can still see the show and not be bothered by others. As long as they dont keep telling you to turn up the volume, I don't see a problem. Good luck with your show.


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## ship

Depends upon how satisfied the director feels with the production and most importantly their role in it. This might not be you or the crew, it can be this person is an emotional hurricane of emotions and fears that out of some sense of last minute “saving the show” or common sense of getting him or her out of the audience, this is a more wise way for the director to feel comfortable in being able to solve the little fears he or she has. 
I certainly have had my share of directors in the closet of the booth, much less those lobby pacers going out of their mind alone in the lobby. Some of them try to make last minute improvements and modifications over the stage manager, or directly on the lights and sound, some directors are a silent bag of nerves but don’t touch a thing. 

Depends upon the person. By theater unwritten law, once the show opens, the director is done. It is now in the hands of the cast and crew, but that’s unwritten and certainly not unknown for the director to make major changes after opening night to the driving crazy of all crew, cast and especially the stage manager. This is art however keep that in mind. It’s never done, just gets to a point the influence on it can walk away.

Could be a fear you are going to screw the show up, could be a last grasp for straws for the director to have some way of yelling at the stage manager and saving “his” show. Just some way to have a control over the show until it’s all worked out and everyone learns their job to his or her expectations. In the end, it’s probably not you unless there is some well founded rational for being there should you encounter a problem. Could also be that there needs to be a staff member in the theater in some way able to take over for the students should there be an emergency. It’s by far better for the director to chew his or her finger nails inside the booth than to be on stage offering last minute advice and bad luck nerves to the talent than to you the pro tech person.

In the end, it’s the school’s rules for a start, than more just the director and his or her trust in the production and staff. This is not you, do your job as if the person were not there, be glad even someone really involved with the production would choose to be with you during the first show and not on stage creating pandemonium, than be respectful and proper because this person no matter how out of place just might be able to help if there is a problem. Take it down to the tech level. Would you kick me out of your lighting booth? Heck no, all the guns available even if not used is all the more fire power for getting stuff done well. The director is not talent therefore at some level this person is staff just like you. You have a problem, perhaps this person in the booth might be of help. Might be of hinderence but somewhere in the panic, there might be the idea that saves the show. 
Welcome this director, just ensure there is only two sets of headsets in the booth. The director can watch from the booth, even listen to the monitor, but should not without purpose be allowed on the hooks for the show unless he or she wants to totally undermine the stage manager and cause even further intimidation of that crew leader. If the director wants headsets, you must ensure that yours are available but because the stage manager has to be given freedom, someone on line who has been around the block a few times clearly recommended that they stay off the headsets. Grab yours when necessary but stay out of the way of the show. You are very welcome to be in the booth and we are honored, but unless there is a major problem the stage manager has to be the primary problem solver - give them a chance your not being on hooks will allow.

And I mean this all. Be it designer, TD or director, they have no real place in the booth, they are a guest and need to remind themselves of that. But also a guest you have to and had at best be honored at the presence of. You don’t have a choice, so you might as well make the best light of it. Show him or her what you really do during a show. Can only lead to good things for your entire group.


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## soundman

I our director/td sits out in the house and yells at the actors, I gave him coms and put him on channel b so he dosnt hear or conversations yet if need be can reach so through the SM or by the call buton


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## zac850

Come to think of it im never quite sure where our director is during the show.... I think shes in the audience, but im not sure.... I've never acutely seen her....


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## soundman

When its actully running or director is in the house laughing like no other try to get the crowd hyped up. Kind of like what comedens do.


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## miniwyo

I try to lock the door buy the problem is when I am running sound he comes and directs them (They cant see him because he is stainding directly the 10 dergree source fours nounted on the fromt of the booth) abd theb he will think he cant hear right and try to adjust my faders and all you can do is either ask him not to do it, swat his fingers away, or re adjust when he turns his back. If we lock him out of the lighting booth he will stan in the sound booth and use his fingers to indicate what dimmer he wants turned up, we pretend to not understand.

RJ
Rock Springs Wy.


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## avkid

give him a two way and a headset ,that should keep him away


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## zac850

avkid said:


> give him a two way and a headset ,that should keep him away



Or give him a 1-way headset and tell him its a 2-way headset....


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## OnWithTheShow

Lock the door....and hope they don't have blasters.


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## megf

Since this is high school theatre, play it by ear. In a university or professional setting, the director would not be allowed into the booth even in rehearsal, much less during a performance. If they want to watch the run, they can sit in the house or watch a monitor backstage. 

Actually, the show I am opening tonight has such a high-strung director that we didn't even let him have a headset for tech - if he wanted something, he had to lean over and speak to the SM, who was on headset in the house. As of tonight, he doesn't even get a guaranteed seat in the theatre - the show "belongs" to the SM staff now. (There's a lot more to this story... send me a private message for more info on dealing with difficult directors if you feel it is necessary.)

I suggest that you play this one by ear. If the director is wearing multiple hats - i. e., designing the lights, sound, FX - then letting him/her into the booth might work. If you are confident calling the show from the tech rehearsals and do not actually need the director with you, then you don't need to let them watch the show sitting next to you, especially if space is an issue. And, since I assume you have a handle on the director's style, if you know they are going to bother you in any way during the show, _do not _ let them in the booth just to appease their nerves. 

Best, 
Megf


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## wemeck

The director in the booth would be to distracting. I vote to have them watch the show from the house or wings. The booth is for technical aspects of the show and our side bar comments and issues stay in the booth.


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## Smatticus

As I think about now reading everyone's comments when I'm working at our highschool the director is ussually in the booth with me, but there is no sound equipment in at to this date and there is a good amount of room in there without any. The guy who directs the school musical production is also the auditorium 'manager' if you will and we have a basic understanding built around the fact that I know more about the technical stuff, how the board works, etc and I have been teaching little bits here and there. At the community theatre it is much more cramped however, there is rarely a director in the booth, in fact I think the last show I did the director had wanted to be in the booth and the TD said she shouldn't be so we gave her a headset to compensate. I suppose, without considering the amount of space you are working in it really comes down to your relationship with the director.


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## gabe

I'm also a freshman in high school. The key is, appeal to the directors vanity. Tell him/her that they should prepare a speech before the show for when it opens. Also, use your connections with actors, ask them to tell the director that they would be so appreciative if he/she watched them on one of their few performances.


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## kingfisher1

I know that from experience that a director in a booth of hinders what needs to be accomplished. while directores often have valid suggestions, in panic situations they can make things worse. 
i know that when things go wrong the best thing is to keep a clear head and be rational. a director adds a large peer preseure that can only be distracting.

Now, this makes directors seem like big bad people, and yes there will always be those who are annoying, distracting, idiots, whatever, but the director ultimately has overall artistic control over the show, and are often awesome peopel.


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## gafftaper

As a former High School Drama Teacher, I have to remind you that it's not your theater and it's not your booth. Somewhere there is a staff member who is your supervisor... unless your school is really screwed up. Policy about who is in the booth or not isn't yours to set it's your supervisor's decsion. If that supervisor is also the director you want to keep out of the booth, suck it up and deal with it. Even the best High School theater program doesn't operate 100% by the same rules as professional theater. They can't. In the end you are a student and there is a teacher who is responsible for everything you do. Hopefully that teacher is knowledgeable and appreciates your work. But remember if you screw up, their butt is on the line. So if they want to be in the booth to make sure you are doing your job, sorry, that's just the way it is. 

My advice is to show them by your dedication and focus that you can be trusted. In time, they will learn that they aren't needed in the booth. That might take a few years.


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## Eboy87

gafftaper, just a quick question out of curiosity, how would you suggest I (SM) would deal with a director who sits in the house during the show with a headset, get's lost in the script, continues to think she calls the show, and gets my entire crew screwed up because she's undermining the cues I'm calling? I don't mean it to sound like I'm disagreeing with you, but just am intrigued. Also, this person is renting out the theater and we (the techies) are being paid for our work.

As a side note, I tried talking with her to not call the cues from the house, but she dismissed me as a stupid student (i was a junior at the time). We wound up having a yelling match, and neither one was satisfied.

Since I want to do this for a living, how would you suggest handling this situation?


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## cutlunch

Eboy87 said:


> gafftaper, just a quick question out of curiosity, how would you suggest I (SM) would deal with a director who sits in the house during the show with a headset, get's lost in the script, continues to think she calls the show, and gets my entire crew screwed up because she's undermining the cues I'm calling? I don't mean it to sound like I'm disagreeing with you, but just am intrigued. Also, this person is renting out the theater and we (the techies) are being paid for our work.
> As a side note, I tried talking with her to not call the cues from the house, but she dismissed me as a stupid student (i was a junior at the time). We wound up having a yelling match, and neither one was satisfied.
> Since I want to do this for a living, how would you suggest handling this situation?



Where does the director sit in the house with respect to the audience? If it is near to paying customers then you could point out that calling the show is disturbing the audience. Also is the headset wired or wireless? Once again if she is in the audience the lead could be considered a safety hazard. Just some ideas? You could also try talking to her again and point out that if there are problems it easier for you to correct from where you are then her position in FOH.


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## ship

Assuming that you have a dual channel base station, you might connect the director on channel B and the rest of the spots and crew on channel A. That way you have a continuity of chain of command during a show. The director can add comments but it’s to the stage manager directly without others listening in. This especially if only the SM and ASM have the dual channel belt packs.

Such getting yelled at on one channel and communicating commands during a show takes a lot of coolness under fire by way of the stage manager, but that’s also the mark of a good stage manager.

Most shows are better with the spots on channel B but it’s fairly easily coordinated by way of cues for the SM to control the spots on the main channel.

The new Clear Com belt packs otherwise would be especially useful. You can program them for a variety of uses and locking out. I’m sure by way of the manual there is a easy way to coordinate anything you need with them.

At work otherwise I make for shows a dual channel Main and Spare base station switch panel. Only thing that gets plugged into the dual set of base stations is this rack distribution/switching panel. There is a four pole dual position switch attached to the four A/B XLR cables fed from the main and spare base stations. They than after the switch get fed to the various A, B and even six pin dual channel outlets. Acts as a patch panel also so you don’t have to reach into the rack while installing, much less because there is a switch to go from the main to the spare base station, you don’t have to un-plug and re-plug each line should there be a problem. It has just as many male as female outlets - just in case some stage crew runs a line backwards.

Anyway, given this A/B distro, that switches between Main and Spare base stations, what if such a panel were what the stage manager plugged into? Everyone else plugs directly into their respective base station except the stage manager has the option of switching between say the director com system and show control system. Perhaps add call lights in line from the base station before the switch so if needed on one or the other base station, the stage manager can see the call light and hit the switch to get to that circuit. A ASM switch panel could also be made to run in parallel with that of the stage manager.

This would allow two completely separate com systems that might be useful not only for show control and director listening but also for actor warning cues. Say Main base station Channel A for talking with the lighting, sound and fly people. Channel B for controlling the follow spots. On the second power supply, channel A for the director to stage manager/ASM yelling at circuit, and channel B that goes over the intercom in both the dressing room and green room. Stage Manager wants to give the five minute warning, they go to Spare Power Supply channel B, Director wishes to give last minute changes, the director also can go onto the intercom without interfering with the production staff. Both can also Shush the actors while on the Clear Com.

Call lights between power supplies would be the key here. You would either need to see the call lights on the base stations or have some installed on the switch panel.

Still, if it’s theater policy the director or others not actively running the show are on the headsets, perhaps it’s a good solution. Granted all this would take some coordination and agreement by way of management. Perhaps if nothing else, give the director another Main/Spare switch so if they really want to hop onto the show control system they can, but otherwise dont confuse cues given and the rest of the crew. This where in the past, directors used to just take notes for the next show to work on.

Other ideas and concepts for such a system. Having both an indicator light for call light on the system the stage manager might not be on at the moment is very important. Also and perhaps even more important would be an indicator light for which position on the switch the stage manager is currently switched to. Don't want to give cue 102 to the director, realize this and have to call it late. Also in the past, I have done some foot switch clear com adaptors which have been handy for hands free switching between A/B channels. Perhaps some of the various rock and roll foot switches could be better adapted for doing this so the stage manager can still flip pages in the script or write notes. Perhaps not in loosing the foot switch in the dark.

Another thing I once created in the past was a AB belt pack adaptor that was belt mounted. Instead of having two sets of wires, much less a problem with feed thru, I once did a belt pack adaptor that was feed thru and did a single six pin plug to the dual headset. Made one, but nobody has really used it. I will have thought it a good idea where feed thru is a problem or there is just too many wires off the belt pack. Add a 6' whip to the six pin plug and the adaptor much less lots of wires feeding off it would not need to be mounted on the belt.


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## kingfisher1

Ahh...those people with bugets to do things....what a lovely world, lol
Rather then go for the really cool sounding high tech solution, it might be better to jsut talk to your director about your fears that they might be distracting...then they cn tell you their rational, and a friendly comprimise may be reached. 
I really like all the directors i've worked under but i dont think i'd want any of them in the booth, just prove that your responsible and hopefully they'll be able to let go of thier fears, pre-show jitters, what ever....


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## nate

Ok ya'll. I have three years experience as SM at our high school. I call the cues to the booth and my crew backstage. What you need to do is convince your director that you are trustworthy and that he/she is not needed in the booth. Our director happens to be very knowledgeable about all aspects of theatre, so he goes to the booth to help if he is needed. Otherwise, he is in the house.


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## gafftaper

Eboy87 said:


> gafftaper, just a quick question out of curiosity, how would you suggest I (SM) would deal with a director who sits in the house during the show with a headset, get's lost in the script, continues to think she calls the show, and gets my entire crew screwed up because she's undermining the cues I'm calling? I don't mean it to sound like I'm disagreeing with you, but just am intrigued. Also, this person is renting out the theater and we (the techies) are being paid for our work.
> 
> As a side note, I tried talking with her to not call the cues from the house, but she dismissed me as a stupid student (i was a junior at the time). We wound up having a yelling match, and neither one was satisfied.
> 
> Since I want to do this for a living, how would you suggest handling this situation?



Sorry it took me so long to get back to this... I wasn't paying attention to this forum. I spent several years as a High School Drama teacher. I was the rare one who actually knows something about tech. The majority of Drama teachers are really English teachers who are in way over their head and don't have a clue about how a professional theater is run. 

Good High School tech students tend to be very passionate about their work. They take each show very personally. They work long hard hours for nothing but pride in return. They like to push themselves to do the most professional job they can under the often difficult circumstances... does any of this sound familiar? 

The problem is that you are still in high school. As professional as you try to work, in the end the theater is a classroom and you are not the person in charge. Even though you know more about the tech than your teacher, the teacher is still the boss of the “classroom”. As I said before, hopefully you can work together, they trust you, listen to you, and give you the respect you deserve. But if they insist on doing it their way... your choice is to live with it or not be on the crew anymore. In the end you have to remember it’s not your booth, it's not your show, it's not your theater.

Then there are the people who don't know anything about tech. However, they assume you are just a dumb kid and can't be trusted to do it right. So the won't listen to you no matter what you say. A lot of people around your high school building enjoy the authority of being a teacher and aren't willing to admit they don't know anything. Sorry... that's just how it is in high school. 

This starts to sound really unfair... but here's the really crappy part. The skill of biting your tongue and doing your best to keep someone who doesn't have a clue from failing is necessary in the real world too. If you can't work with a difficult director who has crazy ideas about how you should do your job you are in the wrong field my friend. They are everywhere in the professional world too. 

As for the specific problem of what do you do when someone is destroying their own show with their own incompetence... There are only three things you can do. Bite your tongue. Politely suggest another option. Live with what they decide. If your getting paid to do a job and the person doesn't want it done the right way, you have to be able to reach a point you can say "I can only do so much and it's not my problem if they want to fail". 

I just had this problem a few months ago with someone renting the theater I work at. They refused to use the house sound system because they had an "expert" bringing in a portable sound system. The "expert" didn't have a clue, and the system was crap. For a jazz concert they wanted to preset all the mic levels and just leave the mixer on stage where no one could adjust it during the show. I tried to get them to use the house system but they didn't want to. So, I held my tongue and proposed the next best solution... we ran the mixer behind the upstage curtain so that I could at least make some adjustments. I ended up standing in the back of the house using clearcom to call changes in the sound mix to a guy sitting up stage center behind a curtain. It was stupid. But I was working for them and in the end it wasn't my show. You’ve got to learn to try your hardest to help and be willing to settle for "I did my very best and if it sucks it isn't my fault". This of course can be a trap because it's easy to not work hard if you think it's just going to be a disaster. 

One last thing. I'm not saying that you are like this at all... I don't know you. However, many High School Tech students fall into a trap and get over confident and arrogant about their skills. They think they know everything because they can aim an instrument, record a cue, call a show, play back a sound effect, or build a flat. Those are all important beginning points. But it’s rare for a high school student to even begin to master the basics. Remember that you are a student and this is a learning experience. Every veteran tech around here can tell you a horror story about "this guy who thought he knew everything". Remember Every day is an opportunity to learn something new. Although I've been doing tech for about 20 years, I'm far from what I consider an expert. If you think you know everything about your job in theater, I can tell you with 100% accuracy you don't. 

When I read the posts from Ship I always go "wow this guy knows everything". Hey Ship... do you know everything? My guess is he'll say "No, I learn something new every day and with every show". I also bet he can tell you stories about lot's of guys who thought they new everything refused to listen and no longer have a job. 

So let me wrap up my lecture… yes I talked too much in the classroom too… by saying this. High school Theater is a wonderful place to start your tech career but it’s only a beginning. You have a lot of things to learn about theater and many of them have nothing to do with pressing the pretty buttons. Often the most important lessons learned in High School are about dealing with people you can’t stand. Feeling unchallenged, go find a community theater to volunteer for… they are always desperate for help. NEVER say, “I know how to do that,” say “What’s your procedure for doing that at this theater?” Get into a college program and learn some theory… it’ll blow your mind how little you know right now. I’m sorry you weren’t on my high school crew. They were all very special people to me and they kicked some serious butt back stage. Which reminds me I promised them a reunion party this spring… I better start planning.


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## tenor_singer

I need to set the stage for my answer, so please be patient.

High Schools that offer any form of drama curriculum are VERY rare (at least in the state of Ohio they are). Curricular drama programs are not required for state certified diplomas (unlike the 4 years of English, 3 years of mathematics, etc...). With this in mind, they are the first items cut when times become economically tough OR are never really initiated to begin with. This leads to most drama programs being offered as extracurricular activities staffed by teachers, many of whom may not have any knowledge about theater art, but who might have acted in a production or two in college or community theater.

As gafftaper (I really enjoyed your post, by the way) said... since drama programs are mostly offered as an extracurricular program, the experience of your advisor will fluctuate highly depending upon your school circumstances. Some schools in my area are very supportive of their arts programs and have multiple advisorships (for lack of a better word) available... Director, Asst. Director, Music Director, Choreographer, Technical Director, etc. At most schools, though, there is but one... the "drama club advisor".

Because of this, the drama advisor, by necessity, is required to wear many different hats. They not only direct the production, but also produce it, design sets for it, construct sets for it, plot the lighting and sound for it, design costumes for it, market it, fund it (usually by running a seperate fundraiser)....... 

This means that when the tech crews are finished for the night aiming lights, the advisor is on to another committee meeting or rehearsal. When the stage construction crew is finished, the advisor is going home and working for several hours on the fundraiser (ours us usually selling advertisement space in our program). Long story... long (sorry)... the drama advisor works very long work weeks (my family refers to me as the stranger who invades the house every now and then).

I don't say this so that we can feel sorry for them. That is the complete opposite of what I am trying to point out. What I am saying, though, is that people in positions of authority who work long hours on projects take an ownership of them and are often times loath to turn over control when the time comes for them to actually do so. It is a hard weakness to overcome. My Stage manager is Nate here on the boards. I am very confident in his abilities to manage a show (I was ever since he, as a sophomore fledgeling stage manager, confronted a senior for refering to my wife as a ... B#$%# when I wasn't around to hear). However... I still tend to try to run things during the show. I have to concentrate to give ownership of the production over to the appropriate student positions to run because at heart... I'm a control freak... made doubly worse by the incredibly long hours I worked on the production. This is probably what is happening with your director. 

What can you do to stop it. I know that if I am calling a show or running the sound or lights or am sitting in the booth... this means that sometime during the technical rehearsals happened that shook my confidence with the people in the technical positions. You need to be sure that you are completely competent with your job AND demonstrate this competence on a daily basis. I have had years where I have had extremely knowledgeable students running tech, who also had bad habits of leaving the booth to go get a drink or go to the restroom. Whatthis lead to was me sitting in the booth because I wasn't confident enough that they would be there when a cue was called...usually because cues were often missed during tech week.

A second thing that you can try... Sometimes people are doing annoying things and have zero clue that they are doing so. If her calling the show is upsetting to you, don't be afraid to ask... why are you calling the show when it is my responsibility to do so? Have I done something wrong? What can I do to gain your confidence in me? This is a hard thing to do because it will involve you as a student taking in a very mature fashion to an adult in a position of authority. Be very diplomatic. Don't approach your director and say... "listen... I am sick of it when you call cues over my calls". The person will instantly be defensive and nothing will be gained. Instead say "Mr. or Mrs. so and so... I have created a cue book for the show. Will you go over it with me so that I can be sure that all of the cues that I will be calling as your stage manager are in the proper place?" This will let them see that (1) you are organized and that (2) you want to call the show. Maybe they will then give up a tad more of their ownership. 

I think I have rambled enough for one day. I hope that this helps. I will post more ideas later.


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## gafftaper

Very well said Tenor Singer... I was a lucky one. I got to teach two History classes, One begining Drama class, one stage craft class, and one advanced drama class. When I was done with my rehearsals I had to drive home 45 minutes, fix dinner, try to spend a few minutes of quality time with my wife and then spend 3 or 4 hours working on lecture notes and grading papers for my history classes.


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## saxman0317

Im in the exacta same boat. As long as they let you do your job thats fine, but you may need to talk to them about it. For Julius Caesar, our director blamed me for everything including lines untill i told him to leave the deck. He got really mad, but the idea of me telling him that i needed to do my job and that if the SM trusted me, he could seemed to get him to understand


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## What Rigger?

Kick 'em the F out, and lock the door. Simple!


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## Hughesie

Eh what the hell let them sit there

it's sometimes funny and you can watch them lose it at other um er 

Objects (actors)


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## thebikingtechie

I don't know how to ask a director to leave but I can say that it is really distracting for me when the director stands over me. She has a really comanding personality and our booth is tiny. I think if I asked her to leave I would never touch the board again.


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## What Rigger?

When all else fails: FART! LOUDLY! REPEATEDLY! I swear to ever-lovin' God, this does work.


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## jonhirsh

Its there show in every sense, this includes technical aspects. If they want to sit in the booth then its there right. 

JH


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## ship

thebikingtechie said:


> I don't know how to ask a director to leave but I can say that it is really distracting for me when the director stands over me. She has a really comanding personality and our booth is tiny. I think if I asked her to leave I would never touch the board again.



This could be something to work on and with in a good way. Not in asking her to leave but in getting used to working with people that intimidate that are even looking right over your shoulder. Do your job, don't attempt to impress them, just do your job and nothing more or less.

Best days for me are often when I say nothing more than is needed, don't intend to make a point or statement and just get stuff done.

You have to let dad/mom see that you can ride your bike without training wheels before they remove them. This weather or not you wish them to be removed in fact. I know I did not want the training wheels removed, nor did I ask to become anything from LB operator to Marine NCO. Just stuff others thought I was ready for and even afterwards watched over me until I was by way of them feeling comfortable eventually in leaving me do my job and often still not me - being ready. Such things I might have at times gone for and gotten, or not - often not when I went for them, or other times when forced into a position by those supervising me. It's always been based upon me just doing my job and eventually trusted with it fully in addition to most often only doing the advice or changing the world thing when asked. No matter if you think you are ready or not, the instructor in control here and she is gauging your ability to take the next step or not. And in gauging the trust she has in you by way of letting the show go off into someone else's hands. Or even in trusting herself without you having any real role in this - have you considered that what if she does not trust what she has done sufficiently to let it go?

Relax, do your job, compensate with her for her changes at times as needed - even if confused (lots of times you will find confused people in charged of you, it will be good practice to get used to. Just do your best to reflect the situation in doing what you are there to do and to support at times what changes need to happen (that's good practice also.) Looking over the shoulder, so what, are you doing something you should not be? Guilty concience? If not, shouldn't be a problem up until the point you worry more about her being there instead of you just doing the job and being glad that you are the one doing the job - no matter if the full extent you could be or not. To the extent you have the job, be glad for the extent of it you have. Do it well to the extent you can and eventually or not you might get to fly by yourself.


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## PhantomD

Oho this is a topic I could go on for days about.

The key in this situation is to develop a good, productive "working relationship" with the person involved (the director) and gain their trust and respect. It then becomes easier to work with them.

I have become heavily involved in my high school production, doing a lot of planning and organisation. The director (deputy principal) used to do all this work, and I believe she has appreciated being under less stress with me doing some of the job, to a high standard.

As a result our shows have become higher and higher in standard. I have moved from Radio Mics board (two years) to Lighting Board Operator, and I have been given a fairly free reign with the show, with us this year replacing our 25-year-old lights system and using movers for the first time. Next year I will *negotiate* to use more colour and creativity in my design.

I guess the key points I am trying to express above are *communication* and *co-operation*.

It does not come easy, and I have had to work hard to gain the *respect* of the people involved. This involves having a minor blowout with the director in my first year over tech, which meant that we weren't really talking for a few weeks, but the resultant improvement in sound with my method of operation was such that this was quickly forgotten.

As a result, I would not mind any of the "big-wigs" being in the booth as I know I can co-operate with them.

I was horrified to read above of directors coming in and actually fiddling with levels, I would walk out in that situation. I make a point of doing my job, and only my job, and letting other people do theirs. If they ask for help I give it. If I am running lighting, I run lighting only and don't pester the sound operator.

I guess I now have a "secondary janitor" position in the whole theatre area of the school, in terms of rigging and maintenance. I have just taken the sound system to task ,resoldering leads that had brown joints causing the left speaker channel to drop out, and replacing a horn tweeter in a speaker (the magnet had slipped and there was shocking distortion).

I guess, to be noticed, you have to be "unnoticeable", if you get my drift.


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## TalBrite

While I understand directors who want to be in the booth during a show, I'd do everything in my power to keep a director out during a show. The biggest problem is that the when it comes down to the show, the director is the only person who have _nothing_ to do, and in the middle of so many people trying to get things done, it's almost impossible for a director to not somehow be in the way.

First, a director fluttering over my shoulder is marginally distracting to me and my board ops, and VERY distracting if they're trying to point out problems or fix things in the middle of the show. If a director sees things they'd like worked on, they can take notes from an audience seat and bring them to the stage manager or other parties after the house has closed.

In the case of a technical problem occuring, most directors sitting in the booth won't be able to resist shouting out a suggestion that may not be what the stage manager orders, causing more confusion and possible a bigger mess.

And it's a show of confidence and good faith for a director to hand over the reigns to the stage manager, board ops, and crew for the run of the show.


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## asm

i found that the best way to keep them out of the sound box and the lighting box, is to tell them to go away. obviously not being so direct, but something on the lines of: can you come back in about 2hrs, when the rehearsal is done and give me some notes to look over then? this keeps him yelling at the actors, and him out of my hair.


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## Synchronize

What Rigger? said:


> When all else fails: FART! LOUDLY! REPEATEDLY! I swear to ever-lovin' God, this does work.



Agreed. I always get a number 1 and number 4 from Taco Bell right before the show. Thats a burrito, a mexican pizza, and 3 taco supremes. It keeps everyone out of the booth .


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## Spikesgirl

charcoaldabs said:


> Ha, running lights on Friday (for the coffeehouse) during a quiet song I decided I was thirsty, and now was a good time to open my soda... I sorta held my hand over the top to try and muffle the sound of pressure equalization. However, it just ended up sounding like loud flatulence... I had a dozen people turn and look at me simultaneously with a look of shock on their faces, and all I could do was point wildly to my coke while managing to my muffle my own laughter.




At least you didn't do it artistically or they would want you back for each show!

Did you ever get your paper written?

Charlie


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## David Ashton

This is one crazy thread, I thought it was a joke, well a director never has and never will sit with me in a control room, its unheard of, and why, the show is plotted and rehearsed, you need total concentration on doing your job.The director is in the audience seeing what works and what doesn't, she takes notes and hands them out after the show, if you stuffed up it's your fault and you deal with it and it's not because some idiot ruined your concentration trying to re-direct the show in real time.If a director feels the need to be present they have failed, at some point they have to walk away and opening night is that time.


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## genericcomment

Well first of all I liked what gafftaper said and second of all even during tech rehearsals in high school our 'Drama' teacher (who did teach English before but had lots of theatre experience and the person who helped open me to the world of theatre) actually was never present in the booth with me or the sound person. Partially because it was 3 flights of stairs up and she had injured her leg the previous summer, but most of all she trusted tech. She had more problem with the actors which is why she stayed in the house. Gafftaper was right about techies having a passion about what we do, and I know that if my old director in high school had a problem with lights during a rehearsal she'd tell me, and by the next rehearsal it would be fixed. 

Now in college running lights, having my lighting/sound professor in the booth with us was a little nerve racking during rehearsals, but when it came to shows he would stay for about the first 5-10 minutes in case of troubleshooting and then he would leave because it was now our show. 

I'm not sure if this helps any but I wanted to put in my 2 cents.


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## Pip

Our director would sit in the booth with us for first tech, but leave us alone after that. I like that because that way she could give us immediate changes since it was first tech- mostly she worked with the lighting guy redoing really bad cues and stuff, I mostly got left alone in my sound world.

After that though, all of our notes were done afterward with the rest of the cast and crew.

The only "com" my high school had at our disposal was Motorola 2-way radios and headsets.


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## Spikesgirl

What to do when a director wants to be in the booth? 

Tell him or her no, providing that they actually listen to you. We have both in our theater. 

We are lucky in that our booth locks and we can control who come in and out of it simply by keeping it locked during the show. The logic is that anyone who needs to be in the booth is there at the start of the show and if anyone needs to leave, they can always prop the door open. The director is not one of the essential booth folks and we've had to invite them to leave.

We have directors who walk out after opening never to be seen again except possibly during the last weekend and we have others who insist on being there every night to watch the show. The only problem we have is keeping the directors from being backstage, pestering the actors or techs during the show. Our producing director has actually had to step in and 'toss' a couple out from the backstage area. 

There is no easy answer to this question, except to be firm, have the appropriate backing to handle the situation and do it in a professional manner. There is no room in the booth for a director.

Charlie


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## Goph704

I hate to disagree, but
At the level you are at right now, you let the director do whatever they want. They know what's going on because that is a direcors job. I promise there will be more crowded booths in the future. You'll understand what I mean when you get there. If you would like to, then you should lodge a complaint with the director and let them know that there isn't much space in the booth, but if they say tough, then that's it. No argument. Part of what makes theater work is that there is an orgizational structure. Follow it. My first ulcer is named after my highschool drama teacher, but I now make in a day what she made in a week, and I kept with what I was doing, she sells cars. Trust me, it all will work out.


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## Synchronize

Pip said:


> The only "com" my high school had at our disposal was Motorola 2-way radios and headsets.



Thats what we use, and honestly, they work fine. I cant see spending $1000 on a com system when you can get six radios for 30 bucks a piece and headsets with them for 10 more.

Half the time the director doesn't even want one.


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## avkid

Synchornize said:


> Thats what we use, and honestly, they work fine. I cant see spending $1000 on a com system when you can get six radios for 30 bucks a piece and headsets with them for 10 more.
> Half the time the director doesn't even want one.


It's illegal.
(cough)


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## Hughesie

charcoaldabs said:


> Ha, running lights on Friday (for the coffeehouse) during a quiet song I decided I was thirsty, and now was a good time to open my soda... I sorta held my hand over the top to try and muffle the sound of pressure equalization. However, it just ended up sounding like loud flatulence... I had a dozen people turn and look at me simultaneously with a look of shock on their faces, and all I could do was point wildly to my coke while managing to my muffle my own laughter.



ah charc. i haven't laughed like that in ages

how about during a directors speech to the cast about no drinks on stage, me opening a bottle of coke and having everyone look at me.


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## Pip

avkid said:


> It's illegal.
> (cough)



??????

[Obligatory text]


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## Spikesgirl

Maybe he means it's against Union rules? Not really sure, Pip.

Charlie


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## avkid

Spikesgirl said:


> Maybe he means it's against Union rules? Not really sure, Pip.
> Charlie


Nope, FCC regulations.
FRS and GRMS are for personal, not organizational or business use.


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## David Ashton

There are conventions, not rules, about many areas of theatre, and one convention is that a director does not interfere during the running of a show, the director who sits in the control booth is being extremely un-professional, they may have the power to do it, but power and competence are not the same thing.
Any director who is competent will have the show ready by opening night, and overseeing in the booth is purely a sign of their insecurity and incompetence, they may demand compliance but they certainly won't get respect.


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## Grog12

We had a director in my undergrad that it was mandatory that the door to the booth was locked during the show or he would barge in during the middle of a show.


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## Pip

avkid said:


> Nope, FCC regulations.
> FRS and GRMS are for personal, not organizational or business use.



HAHAHAHA I hadn't even thought of that...

Good point.  Who cares?

I use GMRS unlicensed (just because my dad and I are too lazy to get the license)


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## avkid

Pip said:


> HAHAHAHA I hadn't even thought of that...
> Good point.  Who cares?


99% of the time, nobody...


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## icewolf08

avkid said:


> 99% of the time, nobody...


Thus illustrating one of the lunacies of the GMRS implementation. "We are going to allow anyone to buy the technology but to use it you need to play for a license." Kinda dumb tactics IMO. I mean if you can buy and use the gear without having the license, why buy it? This is why it isn't so heavily policed. It isn't worth the FCC's time or money to police it. What would have been smart is if the FCC had said to GMRS radio manufacturers "you need to charge $XX per unit that goes to us (the FCC) as a licensing fee." Then when you bought the gear you would effectively have bought the license, and since really all the licensing is for is income for the FCC, everyone would be happy.


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## avkid

icewolf08 said:


> What would have been smart is if the FCC had said to GMRS radio manufacturers "you need to charge $XX per unit that goes to us (the FCC) as a licensing fee." Then when you bought the gear you would effectively have bought the license, and since really all the licensing is for is income for the FCC, everyone would be happy.


But of course they wouldn't do that, because it makes sense.


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## gafftaper

Wow I can't believe this thread is active again. Just to recap for those stumbling into this midway, the answer to this question varies depending on what type of theater you are in. If it's Professional, there is very little chance that the director will watch more than one show... and no chance they'll want to do it in the booth. If it's a community theater then there is a good chance the director is a part of the company and will be there most nights. It's possible they will want to watch from the booth but really unlikely. In both cases it would be highly inappropriate for the director to watch from the booth. Now in educational theater (high school or college). The director is probably also a teacher and is likely to be heavily involved in every performance. There is a chance that they will feel that watching the show from the booth is where they want to be. Unlikely the community theater and professional world it's entirely appropriate. They are the teacher, it's their show and they typically the one who's head will roll if things go bad in the booth. You may not like it, buy you are not a faculty member and it isn't the real world.


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## No X In Nixon

soundman said:


> When its actully running or director is in the house laughing like no other try to get the crowd hyped up. Kind of like what comedens do.



Exactly the same here. He always sits front row right next to the doors (I assume so if anything goes wrong he can madly rush out to yell at everyone); but you can always hear him over everyone else.

On occasion we've set up a mic to try to put together a laugh-track of him.


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## Grog12

No X In Nixon said:


> Exactly the same here. He always sits front row right next to the doors (I assume so if anything goes wrong he can madly rush out to yell at everyone); but you can always hear him over everyone else.
> 
> On occasion we've set up a mic to try to put together a laugh-track of him.



Feel free to stop by our new member forum and shamelessy promote yourself No X


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## No X In Nixon

Thanks, I'll just go do that


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## achstechdirector

My director tends to come in the booth when she gets nervous

She is very understanding and doesn't hang over us
When she first did it, I just said that it was making me nervous and she respected that. She knew what I meant

She still comes in the booth but she stays in the back


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## Sayen

Just to chime in as a theater teacher - Educational theater is not professional theater, and while I try to run a show as close to the same standards as a professional group might, I am also teaching and instructing along the way. We treat every event in our theater is a learning experience, even down to silly little assemblies. That means that I do plenty of things a professional director never would, because I'm not only the director but the teacher, security, producer, supervisor, and public contact. Most of the time I'll sit in the booth just so the public can't find me, although we have a spacious booth and the crew doesn't mind, and I'm almost never on com. I try to let a show run without any interference, but I have no problem leaning over a board to help instruct an op, or moving backstage to help fix a problem.

In the original situation, the best advice I would give is to either deal with it, or maybe, _maybe_ have a polite conversation with the director. Personally, if a freshmen started telling me how to run the show I don't think that would bode well for their future in the program. And if my technicians ever locked me out of the booth, they'd likely find themselves locked out of the program.


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## teksalot

OnWithTheShow said:


> Lock the door....and hope they don't have blasters.



LMAO! too funny

In the real world, the director leaves after the opening night reception (usually very drunk) and they go off to work on their next project.

In high school, they have the power to be wherever they want. Usually the school requires the students be supervised by faculty/staff at after hour events. So you pretty much have to learn to deal. 

But if they start to become a pain, you can ask them politely not to talk during stand-bys.

Good luck.


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## lieperjp

This thread makes me happy that usually the directors I am dealing with now seem to have the attitude that lights and speakers just set themselves up for the most part... (Note: College I am at DOES NOT have a theatre program... just students wanting to "expand their horizons" or something like that...)


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## TheSlowPoisoner

I've never had to encounter such a problem, because (a) both of the directors that I had almost NEVER went up there and (b) our booth was tremendously large and fit about ninety million people comfortably. As unprofessional as this may sound, we actually had our friends up there during shows, and there were couches, so... well, lets just say those couches got more use out of them than was intended when we put them up there. My suggestion would be to get some headsets or something--we had a comm system installed into the walls when my theatre was built, but a few headset-ready walkie-talkies aught to do the trick. If that can't be done, then just try to convince her that there's not enough room up there for the three of you--if you're confident enough that you won't need her up there, that is.


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## tech2000

In my high school, our director just sits in a seat in the house, usually behind the audience. Our booth is about 7'x12', and then the sound system and light board is up there with two light board operators. It also tends to get hot up there if there is more than two people up there even if the glass isn't in the window of the booth overlooking the FOH/stage.
Director likes to watch the show and if she has to get a hold of a tech over headset, she walks over to the sound board.

In a way, the booth is a pain in the ass because it is located on the second floor of the school, so you have to completely exit the the theater to go upstairs and into the booth. Makes a long trip when moving equipment between the two.
Plus we've apparently had bad experiences with couches in the booth, years before I got to the school.


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## NickJones

Easy. Lock the door!


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## midgetgreen11

We never really use our booth. We set up a tech table for lights and/or sound in the back rows of the orchestra seating. This leaves an awkward section of 6 seats in the back for the lightboard and sound board operator. My director usually hangs out in the back of house to catch stragglers on their way in to the performance, as our house managers.... are failures.

Our Director is NEVER on comm, as we have very tempermental walkie-talkies which when exceeding a certain numer... they crash... or we hire in clearcom with JUST enough so that each necessary person has one.

My director would actually be quite funny on headset...

Also, she technically teaches (no pun intended) the Theatre Production/Technical Theatre class at my high school, but it never runs due to lack of interest, so us tech students learn from our predecessors, and sources like CB.


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## elite1trek

At my theatre, I am very lucky in that the director knows nothing about tech, and everybody respects their positions. If somebody has a problem with something, they take it to me, and I tell my crew.


> Easy. Lock the door!



As for that, that may just be the quickest way to get you kicked out tech at your school. At theatres I have worked at, I would have gotten fired.

My advice, depending on how your school is structured, would be to find a teacher who knows something about tech, or how professional theatre works, and ask them to speak with your director. Your director might respect an adult more than a student. 


> well, lets just say those couches got more use out of them than was intended when we put them up there.



Such was the case at my high school. xD


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## seanandkate

I'm a little lucky in that I worked in the industry and got an MFA in lighting before I became a high school teacher. Many drama teachers just don't know how things work in professional theatre, and/or don't know WHY things are done that way. When I first came to my present school (now been here for 15 years), the teacher/director always wanted to be on headset during a show. It raised the anxiety level of everybody on headsets beyond measurable limits. I gradually phased that out. Now my technicians know that it's policy -- show opens, it's now their show. As a result, my operators and stage management staff are better trouble-shooters and can handle things on the fly. THERE'S a skill that they're going to need . . .
That being said, if they're just sitting there taking notes, letting you do your job, then no fault no foul.


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## IndigoFire

in my experience, once the show is in the venue the the stage manager takes control and it is up to them where and how much the director is involved.
If you have a problem with the director being in the booth, you should first raise it with your director. Failing that, approach the stage manager and see if they are able to help you out.
If all else fails, just start talking about your director through the comms so that they feel so awkward they have to move away.


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## TOG

Our A/L booth is hard to access from the seats- it involves three sets of doors, going down one staircase and up two staircases and a long catwalk so it is a major trek. During rehearsals we keep a big container of red vines in the booth and I will bring handfuls out to the director to keep them away from the loft. (They have a multiple channel headset available during rehearsals- there's really no need to come up to the booth.) If they insist on coming up anyway, they have to crowd into the "overflow" lamp room/closet and they don't stay long- I hide an open jar of Limberger cheese in that closet while they are on their way up the stairs .


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## klestekoff

I know I find it very challenging to NOT say 'faster on that cue' or 'go now.' I've kicked myself out of the booth.


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## klestekoff

Sorry - I didn't mention that I am a director. My advice, by the way, is to talk with the director and explain that in-the-moment direction will prevent you from being as effective as you can be. Let him/her know that you work best with notes following a production or run so you can fully integrate the timing and considerations. I hope that helps!


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## garyvp

Our booth is large, comfortable, and has room for four. Two is typical. We have a separate director's booth adjacent to the CB, and some directors actually use it. Our directors tend to either prefer the control booth or the theater during a performance. Our best stage managers will not permit directors in the booth; I agree with that. As the TD, I can go in when I please, but believe that the tech crew owns the space during their show.


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## Landon2006

Ultimately, if the director wants to be in the booth, he should be. Since the director is the ultimate word on the production (most of time, unless a producer is involved. Even if there is a producer, he will most of the time leave it up the the director), and if he says "I wanna be in the booth", then who is the stage manager to say no? 

To me, I would not allow my Stage Manager to tell me that "No, your not allowed". Its my production, I'm in charge, I'll say were I go 

I really don't buy the idea that once the director is done rehearsing, he should leave the production up to everyone else. all to often, especially on a longer run, things take an entirely different turn that what the director wanted. 

Ultimately, if there is room in the both, let him in. Be thankful he is not asking to be backstage during the show! If there is no room in the booth, then just let him know. Tell him to sit in the back of the audience and you'll give him a headset.

Personally, I don't have this situation to deal with. I am the director, and I call the cues for my own shows!


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## Landon2006

avkid said:


> Nope, FCC regulations.
> I don't recall seeing anywhere it says that FRS / GMRS can't be used for business use, so long as a license is obtained by each operator. We use 2 ways all the time when loading / unloading and setting up the stage... To keep in contact with everyone.
> 
> This is a direct quote from the FCC on FRS:
> 
> "FRS allows two-way voice communications over very short distances, generally less than one-half mile. It is generally used by families or small groups to communicate while on group outings when group members are fairly close together, _but can also be used in business-related settings._"
> 
> Walmart uses channel 1 for management communication, which I believe is FRS.


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## kiwitechgirl

Landon2006 said:


> To me, I would not allow my Stage Manager to tell me that "No, your not allowed". Its my production, I'm in charge, I'll say were I go
> 
> I really don't buy the idea that once the director is done rehearsing, he should leave the production up to everyone else. all to often, especially on a longer run, things take an entirely different turn that what the director wanted.



Doesn't work that way in the professional world! I'm nearly at the end of a 12-week run and the show has been entirely in my hands (as the stage manager) since week 1. The director comes in to see the show every now and again, and will e-mail notes through to me to distribute the next day, but it is up to me to make sure that it stays as the director wanted it. I give notes to actors if they're doing something wildly different; I make sure blocking remains the same (having noted it all down during rehearsals). Of course the show changes slightly night by night, but it's my job to make sure it stays within certain boundaries. I don't deal with musical notes, as the musical director is playing keyboards and conducting the show, but anything else is my job to maintain. I'd never have a director in the booth; they place their trust in me and the operator and leave it at that. If they have issues with cues, they give me a note and I correct it.


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## Landon2006

I guess it depends on the "Professional Theater". Out theater is professional. We use all paid actors and crew, etc... I still always act as both the stage manager and the stage director, and many time other jobs as well. Unless your a union show which restricts who can do what, I think its mostly up the producing companty to choose how the shows will be run. 

Most Professional Theaters do follow a certain code, but that code is not "set in stone".


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## seanandkate

Landon2006 said:


> I guess it depends on the "Professional Theater". Out theater is professional. We use all paid actors and crew, etc... I still always act as both the stage manager and the stage director, and many time other jobs as well. Unless your a union show which restricts who can do what, I think its mostly up the producing companty to choose how the shows will be run.
> 
> Most Professional Theaters do follow a certain code, but that code is not "set in stone".



I think kiwitechgirl is right on the money here. In "professional theatre" directors aren't usually calling their own show. Not to say that your shows aren't professional calibre, but the professional directors that I've worked with (that is to say the ones that only direct for their livelihood) generally don't go in the booth. After their show opens, they need to move on to the NEXT gig that will put food on the table. They leave the show in the hands of a Canadian Actors Equity stage manager who is contractually obligated to maintain the artistic integrity of the show until it closes or they are replaced. If the director wants to see the show, the house manager will find them a seat, generally in "designers row" at the back. The control booth is the stage manager's house. If there's anything in the booth that they believe will prevent them from doing their absolute best to call the show the way it was left to them, it's their responsibility to remove the distraction. The director has the time from casting to open to do what they need to do. After that, it's the stage manager's baby . . . [IMHO]


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## kiwitechgirl

Landon2006 said:


> I guess it depends on the "Professional Theater". Out theater is professional. We use all paid actors and crew, etc... I still always act as both the stage manager and the stage director, and many time other jobs as well. Unless your a union show which restricts who can do what, I think its mostly up the producing companty to choose how the shows will be run.
> 
> Most Professional Theaters do follow a certain code, but that code is not "set in stone".



You're right in that the code is not set in stone, and there will always, always be variance, but I'm really interested in the idea that you act as both director and stage manager, as I've never come across this before. How does it work in rehearsals, do you write blocking down yourself, or do you have an assistant who does this? Do you issue your own rehearsal reports, do you find your own rehearsal props, do you liaise with designers and staff? Or does your job as stage manager only go as far as calling the cues in a show situation, and you have a rehearsal stage manager? And how does this work with union requirements? (I should add that here in New Zealand, we're totally non-unionised and so I have no experience with what people can and can't do under union rules) What I would say, though, is that having worked through England, Australia and New Zealand, the way my current company works is pretty standard, and the way you work, while it is undoubtedly professional, is very non-standard. Not having a go at you, just interested!


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## Landon2006

Kiwitechgirl:
I have a Dep. Stage Manager who acts as the "Stage Manager" during rehearsals of the show. He/She does most of the stuff that a stage manager would do during rehearsals and pre-production, except the scheduling of rehearsals, which I do as well. 

When the show kicks into the run, I then take over, and he / she then will become my assistant. For me, it’s the fact that I was a stage manager for a while, and when I became a director, I love both jobs. In a sense, I love the management responsibility of the stage manager and I also love the artistic ability as a director and sometimes choreographer. So, instead of choosing “one or the other”, I choose both. 

Sure, it’s out of the ordinary, and many of the actors still get a little confused by it, especially the ones who have been involved in theater before. But, it works out great. Shows go on great, actors do a good job, and I get to enjoy both of my jobs.


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## avkid

Landon2006 said:


> I don't recall seeing anywhere it says that FRS / GMRS can't be used for business use, so long as a license is obtained by each operator.


Family Radio Service and General Mobile Radio Service are two very different things.
FRS does not require a license, however GMRS does.
Unless you have been grandfathered GMRS is not legal for business use.



> Walmart uses channel 1 for management communication, which I believe is FRS.


 Most Wal-Mart stores use MURS and single channel Motorola XTN VHF radios that always display the number 1.


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## Landon2006

Yeah, I didn't mean to assume that FRS and GMRS where the same. I just have never heard or found any information about them being illegal to use for business use. 

Even if GMRS is illegal to use, for any Theater environment, FRS is more than capable of handling the situation. I know FRS can be used in a business environment, its just not as "secure" as a dedicated business frequency.

The radios we use are the TriSquare TSX100. they operate in 900Mhz range.


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## Walshd5000

I vote for tying the director up with gaff tape when they're in the booth!

When I've done semi-pro or community theatre, one director liked to be in the booth, but they only wanted to see the cues from my end (and probably make sure I was keeping track but once they saw my prompt book they left).

The professional directors I've worked with want nothing to do with me. I'm my own little world. They just make sure I know what they want changed and that I have the cues, other than that, they're just yelling at the TD and designers.

In one of the early posts, someone mentioned about having a director in the booth in HS. I'd agree with that especially to help a struggling SM learning the ropes. Here in Vegas, most of the HS teachers seem to be actors with little or no technical experience, so the SM has to learn on their own.


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## misterm

Ok, here's the perspective from the theatre teacher of a small program. Yes I am a full time theatre teacher, no english or history or anything else to clutter my fragile little mind! Anywho, I sit in the workroom/greenroom/dressing space just offstage where I can hear the show and talk to cast members and backstage crew. I basically am there to troubleshoot in case anything happens beyond my crew's control since we have no com system and a relatively unexperienced group of actors and crew (very young program). I walk around the building to the tech crew in the house to check on them every once in a while just to take care of any immediate concerns. This is how all my directors have done and I love it. I'm out of the way, but there in case. I enjoy my cast and crew's excitement and share in their emotional moments when they emerge after great scenes.
This is not how all directors are or should be. Every director has their quirks and unique traits you have to live with. This is their job and they will do it how they want and how they know best. Doesnt matter if you know its not working or ruining a show, but you deal with it or try to find a diplomatic way to discuss it with the director. I would rather my techs talk to me about over-stepping bounds so I can explain myself so we can reach a mutual agreement than have them lock me out of the booth and make me even more angry. They do that and they will not be working a show with me for a long time, if ever again. If you deal with it, do so without complaint. Period. Dont complain to your buddies, or your blog, or to anyone. It will get back to the director and you'll be in much more trouble.
In conclusion, be professional about it: Deal with it quietly or handle it diplomatically.


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## hklq

OnWithTheShow said:


> Lock the door....and hope they don't have blasters.



Hahaha. Excellent. With some directors, the hands-on type, I might resort to that. Generally, as stage manager, I don't let directors or guests in my booth. There may come a time when I do. During tech week the director sits next to me in the house, and during shows they sit in the audience, and I handle all communication from director to crew. I once had my sound op in the house and the director ending up yelling at him to fix a problem that he had no control over, so from then on I've been very firm on this point.


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## anoraborealis

Our director usually sits in the audience, but right near the booth so he can come in if there's a problem. We don't let him sit in the booth because we've usually got 4 or 5 people in there already, so it's pretty crowded.


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## chausman

Where I do some shows, the "booth" is just a table in the house, so we only have room for 2 people at most. One for the board, one on headset. Our stage manager is backstage because we don't have a way for crew to all be on headset backstage. For sound, they are the same. One on board, one on headset listening to cues. At one of the places we do shows, there is lots of room in the booth and I don't care if people are in the booth, but they need to SHUT UP. I need to be able to not only hear the show, but the headset and the person next to me. And if they won't shut up, then need to get out. Our directors usually are the kind that pace somewhere quietly or only come for the beginning of the show and then leave.


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## mstaylor

To me, a director has no business in the booth. They have done their job and if they wish to give notes after the show, fine. During the show you are working and even if it is going in the dumper, the techs are working and the director has nothing to add.


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## Tex

mstaylor said:


> To me, a director has no business in the booth. They have done their job and if they wish to give notes after the show, fine. During the show you are working and even if it is going in the dumper, the techs are working and the director has nothing to add.


I'm a teacher in addition to being a director. If something is going wrong in the booth, I'm going in there to find out why, help them fix the problem and teach them how to avoid it in the future. My show, my reputation, my problem. Oh yeah, my booth too...


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## avare

Tex said:


> I'm a teacher in addition to being a director....
> ...My show, my reputation, my problem. Oh yeah, my booth too...


As a teacher you have cross jurisdictions. HOWEVER, it is your show and the techies' booth. How do you establish ownership otherwise?

Andre


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## chausman

Tex said:


> I'm a teacher in addition to being a director. If something is going wrong in the booth, I'm going in there to find out why, help them fix the problem and teach them how to avoid it in the future. My show, my reputation, my problem. Oh yeah, my booth too...


 
You have a good point. Its the directors that don't know tech that think they need to be in there at all times.


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## Mercedes

Two rules at my theatre: 

1. Never give the directors a headset. 
2. Never let directors in the booth. 

Seems to work well for us. Less tension and un-needed drama.


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## cpf

It's fine if they just use the booth as an observation point, not as a way to control the ongoing production to fit their vision. Really, anybody giving you (artistic, not immediate safety) suggestions while you're/the tech people are busy should just wait until the end of the show.


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## seanandkate

When I started at my present school 17 years ago, it was practice that the teacher/director was on headset during the show. I was shocked that no students stroked out while being 'directed' while trying to do their job. I trust my operators, and yes, sometimes things go wrong, and I have to trust them to cope with problems if they occur. More often then not, they cover (when needed) just fine. That being said, I'm working in a black box theatre with a fixed grid with no fly gallery, so if Tex is going into the booth to avoid a problem that will result in injury, I'm on board. If a director is going into the booth to protect their artistic vision or reputation (like I saw 17 years ago) it generally resulted in 1) distractions that caused even more mistakes, and 2) the impression that the operators and SM are incapable of doing it themselves. Nobody can swoop in and save my actors if things go off the rails, so they learn valuable lessons in how to cope. Those lessons are not wasted on my technicians either. Again--all bets are off if safety is the issue being addressed.


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## Tex

seanandkate said:


> When I started at my present school 17 years ago, it was practice that the teacher/director was on headset during the show. I was shocked that no students stroked out while being 'directed' while trying to do their job. I trust my operators, and yes, sometimes things go wrong, and I have to trust them to cope with problems if they occur. More often then not, they cover (when needed) just fine. That being said, I'm working in a black box theatre with a fixed grid with no fly gallery, so if Tex is going into the booth to avoid a problem that will result in injury, I'm on board. If a director is going into the booth to protect their artistic vision or reputation (like I saw 17 years ago) it generally resulted in 1) distractions that caused even more mistakes, and 2) the impression that the operators and SM are incapable of doing it themselves. Nobody can swoop in and save my actors if things go off the rails, so they learn valuable lessons in how to cope. Those lessons are not wasted on my technicians either. Again--all bets are off if safety is the issue being addressed.


First of all, I should say that my point of view is only valid for high school theatres. Having said that, if a director has to be on headset during a performance, (s)he didn't schedule enough rehearsal. That will only result in what seanandkate describes above. My shows are prepared to go on opening night and the kids run them. I expect and trust that I'm going to get a high production value and I get it. Going into the booth during a performance does nothing to impede my students from having ownership of the theatre program or from the sense of accomplishment they get from doing it themselves. I want them to own the product of their hard work, not a room in the back of the house.
I'm only in the booth when I need to be, but I don't feel that safety is the only valid reason to be there during a performance. My main reason for going into the booth is when something goes wrong that doesn't get fixed quickly. That's usually an opportunity to help teach troubleshooting techniques and get things working again. If, for example a mic stops working in the opening number and then doesn't work again on the next cue, I'm going to the booth to find out why and to help fix it if they can't. If that makes me guilty of "interfering", so be it. We're going to do a quality production, even if that means I have to do some work during a performance. My job as a teacher is not over on opening night.
In the professional theatre, the director has no business in the booth. I can even support that idea in a college setting. In high school theatre, the booth is just another classroom.
Sorry if I sound a little irritated, but the high school students who think that they should be able to lock their director out of the booth need to deflate their egos a bit and have some respect for their teachers, even if they do know more about tech theatre.


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## seanandkate

Tex said:


> My main reason for going into the booth is when something goes wrong that doesn't get fixed quickly. That's usually an opportunity to help teach troubleshooting techniques and get things working again. If, for example a mic stops working in the opening number and then doesn't work again on the next cue, I'm going to the booth to find out why and to help fix it if they can't. If that makes me guilty of "interfering", so be it. We're going to do a quality production, even if that means I have to do some work during a performance. My job as a teacher is not over on opening night.
> In the professional theatre, the director has no business in the booth. I can even support that idea in a college setting. In high school theatre, the booth is just another classroom.
> Sorry if I sound a little irritated, but the high school students who think that they should be able to lock their director out of the booth need to deflate their egos a bit and have some respect for their teachers, even if they do know more about tech theatre.


 
Good points. That's still good teaching. I totally back that.


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## DuckJordan

Tex said:


> First of all, I should say that my point of view is only valid for high school theatres. Having said that, if a director has to be on headset during a performance, (s)he didn't schedule enough rehearsal. That will only result in what seanandkate describes above. My shows are prepared to go on opening night and the kids run them. I expect and trust that I'm going to get a high production value and I get it. Going into the booth during a performance does nothing to impede my students from having ownership of the theatre program or from the sense of accomplishment they get from doing it themselves. I want them to own the product of their hard work, not a room in the back of the house.
> I'm only in the booth when I need to be, but I don't feel that safety is the only valid reason to be there during a performance. My main reason for going into the booth is when something goes wrong that doesn't get fixed quickly. That's usually an opportunity to help teach troubleshooting techniques and get things working again. If, for example a mic stops working in the opening number and then doesn't work again on the next cue, I'm going to the booth to find out why and to help fix it if they can't. If that makes me guilty of "interfering", so be it. We're going to do a quality production, even if that means I have to do some work during a performance. My job as a teacher is not over on opening night.
> In the professional theatre, the director has no business in the booth. I can even support that idea in a college setting. In high school theatre, the booth is just another classroom.
> Sorry if I sound a little irritated, but the high school students who think that they should be able to lock their director out of the booth need to deflate their egos a bit and have some respect for their teachers, even if they do know more about tech theatre.


 

I completely have to agree with that, although some take it so far as to sit in the booth and be completely over the shoulder of the light board op or sound board op and that's where i draw the line. If I hear my old high school director one more time over my shoulder telling me he wants this light on because he thinks it will look better, I would have quit the program. I finally got him to write notes down for after the show to change. I understand when a show doesn't look quite right but there is no reason to change a small light cue in a show during a performance.


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## LXPlot

As much as Tex makes a valid point, having a person in the booth talking to you brings the ability of the Ops to focus way down. As much as an Op should be able to filter out the nonsense, most HS students are not very well focused in general and the director over their shoulders just makes it a lot worse.

On the other hand, I can handle it if he wants to be in the booth so long as he knows what he's doing.


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## seanandkate

LXPlot said:


> As much as Tex makes a valid point, having a person in the booth talking to you brings the ability of the Ops to focus way down.


 
Gotta go with Tex on this one. If he's in the booth, it's because something is wrong that has not been able to be corrected without intervention. Under those circumstances, focus is _already_ blown.


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## Dylandtech

zac850 said:


> Come to think of it im never quite sure where our director is during the show.... I think shes in the audience, but im not sure.... I've never acutely seen her....



Thats my favorite kind of director. The invisible one.

When a show finishes teching and we go into our tech runs I sit down with the director of the show and tell them "If you need to be in the booth you may, as long as I can't see or hear you. If i feel like you are interrupting my running of the show I will ask you to leave"

I have also worked shows where the SM podium was backstage and the director would be sitting at a table in the back corner behind the curtains or walking around backstage and that specific director i asked her to limit her movement to places were i couldn't see her.


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## Tex

Dylandtech said:


> When a show finishes teching and we go into our tech runs I sit down with the director of the show and tell them "If you need to be in the booth you may, as long as I can't see or hear you. If i feel like you are interrupting my running of the show I will ask you to leave"
> 
> I have also worked shows where the SM podium was backstage and the director would be sitting at a table in the back corner behind the curtains or walking around backstage and that specific director i asked her to limit her movement to places were i couldn't see her.


LOL. If you said either of those things to me, you would no longer be a part of the program.
EDIT: I should add that if you were in my class, you would know that on the first day.


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## sdauditorium

Tex said:


> LOL. If you said either of those things to me, you would no longer be a part of the program.
> EDIT: I should add that if you were in my class, you would know that on the first day.


 
I wholeheartedly agree.


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## briancon7

I have had mixed experiences with directors sitting in the booth for productions. I have had a director who sat with us and told us what a wonderful job we were doing. I have also had a director who decided that a stage manager does not call cues... She sat next to me on the board, physically got in the way, and wanted to change almost every cue during the run. Yes there is a time and place to have the director in the booth, but when you have a TD that trusts the crew 100% you need to let the crew do what the know how to do.


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## mstaylor

I had a variety of HS directors, never had one that had a clue about tech. I only had one that thought she needed to be in the booth. I was 19 and helping a friend out with her show. I was using a very primative memory board and it dumped it's memory. While I trying to figure out how to get light on stage she kept telling me to do something. That was the end of her in the booth. I wasn't a student so I told her find another home.


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## briancon7

Our director is a teacher in the school, so regardless of what they are doing I need to bite my tongue. If I am rude to them, it screws me over in the long run if I have one as a teacher in the future.


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## museav

The original topic was about Directors in the booth and reading some of the recent posts it sounds as though the discussion is moving more into the topic of the division, or lack thereof, between the "Teacher" and "Director" roles when one person performs both. That is a very good topic for discussion and I encourage that, however maybe it should be a separate topic with this one, which started over 7 years ago and is getting quite long, limited to addressing the Director role. In fact I'll go start a new topic for it...


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