Not that I believe her position for an iota.... I would have still had to say... "Mabye so, but if she could hack it in "REAL" theater than she wouldn't be stuck here with us"

 

But hey, don't get me started...

Linda....I like how you work.  I have worked with directors who included me in the rehearsal and note process and I appreciated it.  No one works well in a vacuum.  One of the hardest parts of costume design has been working alone for months feeling that I was there alone - that maybe it wasn't actually going to happen - that maybe I was moving in the wrong direction.  When the rehearsals start I need to see how my work "performs" on stage.  I hope all directors learn from this and include everyone in the critical rehearsal process.  I try to attend as many rehearsals as possible...adding components as they are ready...not waiting for the end to have "tech" rehearsals.  On big costume shows I bring my trunk and sewing machine to the theater and work while the rehearsal is going on.  On a few big budget projects  we even made "rehearsal clothes" so that the cast could work through their blocking wearing big skirts or short tunics or whatever they needed to move in character.

But I wandered away from the topic....thanks to you and all other directors who include the tech people in notes and rehearsal as equals.

 I did not realize it but I, thankfully, am involved in a "small" theatre group.  Those of us who are predominately actors also cross to the tech side in building sets, painting, constuming, and virtually everything else but lights and sound.  We are blessed with some (read "a few") truly wonderful folks who, when they are not in the production, are more than willing to help out backstage.  Accordingly, we, for the most part, have a wonderful appreciation for the magnitude of work that goes on behind the scenes to create a successful run.

Our lights and sound folks are top notch "amateurs" that can match virtually anything I have seen in professional theatre, having developed their skills through their desire to make their contribution to the show. 

I became involved in theatre by going to rehearsals with my 14 year old son who was assisting in the light and sound booth.  By the time he was 16, he was in charge of the lighting for "Fiddler On The Roof".  He asked the director for a lighting plot and was told to "play with it".  When he asked what she meant, he was told that she had seen some of his work on other productions and she wanted to see what he could develop.  As a sixteen year old, this was a lot of pressure, but he took it on and was highly successful with only limited changes from the director.  A local review commented on the wonderful lighting in the production. 

Following the opening night, the director told him that she had developed a lighting plot prior to his question to her but she wanted him to become more than just a button pusher or slider operator.  He now is involved in theatre at college and still supports our group when possible.  I think the director's willingness to trust her instincts about him contributed immeasurably to his desire to excel.

We fully appreciate our techs.  They are as much (or more) a part of our contribution to the community as the actors or director.  During curtain call, we always recognize our techs by name. 

Sometimes small seems better since you get a full understanding of all the things that go into making a show.

 

I have many times made the statement that if people did not appreciate the techies, the techies should walk and let the "actors only" people perform on blank sets lit by shop lights.   I make this statement over and over and yet when producers/directors get in a jam because no one will build for them, I find myself eating crow and building the set.  I do this for the "good of the theatre".  I would love to get the recognition for my sets that I get for my acting but alas that is not to be.  Even when I refuse to be the lad builder and walk away, I find myself backing up Marty on his crew.  I guess we just have to life with the satisfaction and recognition that we give ourselves.  I seriously doubt that anyone would pay to sit and look at my set for two hours if there were no actors on the stage.  But still I have to ask "Can't we all just get along?"

 The AD has to have rocks in her socks!
Me thinks she believes ‘AD’ stands for Alternative Director?
Tin Lids have more than enough oomph to do two shows on Saturday & still want to rave on afterwards!
Anyhow ‘Techies Respect’ it reminds me of an incident at the ‘Old Vic’ with a some what famous [within his own lunch box] Shakespearian actor/director years ago.
The techie was having major lighting problems, during a dress rehearsal that Sir Lunch Box was directing.
This director become very annoyed at the time delays, getting  rather bitter & his breaks all twisted. Marched to the centre of the stage with a fist on hips, to stand like a ‘tea pot in a number 2 ballet pose. He then proceed to berate the techie in the bio box in front of the assembled cast, as being completely incompetent.
Shouting that "this would never have happened in Shakespearian times!".
The techie slid back the bio box window & shouted back ‘Yes & you know who did the  lighting for Shakespear back then?"
To this the director sarcastically replied "No my man pray tell me WHO?"
The techie answered back "GOD!"
At that the techie turned off the Mains Switch, pulled the fuses & went home!