It was Amber White’s second day as a stage manager on “Hamilton,” and Lin-Manuel Miranda, the show’s creator and star, was sick.

Viewers who buy their tickets months in advance are never happy to hear about a substitution. This was Broadway’s hottest show, based on a brick of a book by historian Ron Chernow, a fresh depiction of the New Yorker who fathered the American banking system, endured a sex scandal, and died in a duel. This was the first time that Miranda or Javier Muñoz, who plays the role on Sundays, didn’t appear as the title character. The role went to Jon Rua, the understudy, making his debut as America’s ten-dollar founding father.

White and the production team called an emergency rehearsal — 30 minutes long — for which the cast came to the theater. And then the show went on: “flawlessly,” White said, thanks to Rua but also the professionalism of the rest of the cast and crew.

White, 36, is one of the crew members in the room where it happens for eight shows a week, critical to the musical’s success but largely unseen.

Stage managers, three of whom work at a time on “Hamilton,” are the guardians and protectors of the show and the cast — “a cross between a flight attendant and a mom,” White says — who tend to the mental and psychological well-being of the actors.

They are also often with the show long-term, from pre-production meetings on design and concept through to rehearsals, previews and performances, taking care of the practicalities of scheduling and organization. And, always, troubleshooting.

During a recent production of “Hamilton,” an ensemble member hurt his neck with about 35 minutes left in the show.

Coming off stage, squeezing past barrels of prop rifles and shelves of neatly stored mugs, he went to the stage managers’ office to find White. The actor said he couldn’t go back on.

Quickly, White paged one of the swings — an understudy ready to fill in for multiple roles at a moment’s notice — upstairs in his dressing room. She and the other stage managers coordinated the switch, getting the swing into costume and microphone and on stage in time for his new character’s next appearance. The hurt actor went home.

The show went on. The audience never noticed. Crisis averted.

samhumphries:

stickthisbig:

miss-elsaba:

hey-look-a-hufflepuff:

les-etoiles-de-la-boxe:

pancakereport:

cinder-ember:

sammywhatammy:

redheadeddisneyfreak:

sheriffwxy:

totalspiffage:

soulpunchftw:

agatharights:

musicofthestage:

crutchiee:

tbbackus:

lucasbieneke:

Apparently my director went to see a production of West Side Story a few years ago, and the guy playing Chino forgot his gun before coming out for his final scene. Once it got to the big scene where he is supposed to shoot Tony, he screeched “Poison Boots” and kicked the actor playing Tony until he went down. The girl playing Maria then had to jerk the shoe off of Chino’s foot, and had to do the gunshot scene asking “How many kicks Chino? How many kicks, and one kick left for me”. 

There should be a blog dedicated to theatrical urban legends. Like that opening weekend of Dracula where Dracula (still hungover) vomited all over the audience during the first stage direction that everyone has a friend of a friend that worked on the show and was there.

or the one where the bridge never came out for Javert’s suicide and so he just pretended to stab himself and then lay there until the lights went out

best story i heard was when a friend of mine saw a show where juliet forgot to bring the dagger out on stage so she just ripped the squib out of her chest and blood squirted everywhere

During a passion play a friend of my brother was supposedly in, one of the roman soldiers who was supposed to stab jesus on the cross and accidentally grabbed the wrong spear- he was supposed to grab one with a fake tip, but instead he grabbed one with an actual metal tip and, well

Jesus screamed “JESUS CHRIST YOU STABBED ME”.

Since that Jesus had to be taken down due to a bad case of stab-itis, the backup Jesus came in, but he weighed significantly less than the original Jesus- which would have been fine, except that at the end the cross was supposed to ascend upwards with Jesus on it, and the weights hadn’t been adjusted.

So Jesus, instead, ROCKETED UP into heaven (or, just, above the stage).

This is wild from start to finish

I was in Peter Pan once and one night at a performance, the adhesive holding our Hook’s mustache on was wearing off. It was near the end with a big fight scene and when he got attacked, he let his mustache fall and went “YOU RIPPED MY MUSTACHE OFF!” in a scandalized tone and it added a new note of hilarity to the whole scene (which was supposed to be funny anyway)

In my seventh grade play, which was a midsummer night’s dream, Thisbe didn’t have a sword so she stabbed herself with a coathanger

My junior year we were doing Romeo and Juliet and after Juliet poisons herself it was supposed to go dark and she’d get off the stage. well the light crew accidentally turned them back on and Juliet who was sitting up slammed back down on the wooden bed with a loud bang. To which my theater teacher says into the com “zombie Juliet” and everyone who heard that had to keep as quiet as possible while our eyes were filling with tears.

i attended my county’s performing arts high school majoring in vocal studies, (mostly geared towards musical theater and opera styles) and once a year we got a field trip to new york (we were in jersey, so it’s not exactly far). we would do one touristy thing, an actor’s workshop with friends of our teachers working in various performing industries in nyc, and then see a show. 

my first year doing this, our industry contacts were 1 actor, 1 casting director, and 1 producer to get different aspects of the business, and they all gave us amazing advice and told fantastic stories. the actor in question was Zazu on Broadway’s The Lion King for several years, and told the best story by far.

in The Lion King, there are only two pieces of pre-recorded noise in the whole show. one, when Pumbaa does a MASSIVE fart while fighting the hyenas, and the other being Mufasa saying REMEMBERRRRRR as Simba climbs Pride Rock. the actor told us while struggling not to laugh that, during one night’s performance, someone forgot to flip the tape of these pre-recorded noises.

so, at the end of the show, the great climax where Simba finally accepts his place in the Circle of Life, the heavens parted and-

PFFFFFFFFFRRRRRBTFTBTBFTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT

everyone froze. and then all ran off stage positively HOWLING with laughter.

the lesson: sometimes there are fuck ups you just can’t recover from.

During a high school production of Beauty and the Beast, where I was assistant costumer and assistant prop master, our director decided that we needed to spice up Gaston’s introduction. You know: in the movie, when Lefou runs in trying to catch the duck/goose that Gaston has just shot out of the sky?

Originally, the actors were going to stroll on stage with our Lefou hauling in the really neat (and real!) taxidermied deer head that we had found in a local thrift store. Now, two days before opening night, our director wants Lefou to run in from off stage and catch a stuffed duck that Gaston has just shot. This, of course, requires two things to work properly as a scene: a gunshot noise, and a stuffed duck.

The gunshot noise, we had covered. Blue-collar, redneck school? Guns a plenty to record. The stuffed duck? Harder than you might have thought to obtain.

Three hunting stores, two taxidermists, and one Pet Supply Store ™, I’d finally found a semi-realistic pheasant squeaky toy. What follows is an account of the ways this dog toy managed to be the nightmare prop of the six show run.

Opening Night: The stagehand, who was supposed to drop the bird from the ceiling catwalk, missed his cue and didn’t drop the it. Lefou’s actor rolls with it and does an excellent job of looking around foolishly before getting cuffed upside the head by Gaston. The stagehand then drops the bird squarely on Gaston’s head. Cue laughter.

Saturday Matinee: Different stagehand throws the bird instead of dropping it and beans Lefou directly in the face with the prop. Lefou falls over. Cue laughter.

Saturday Night: Bird is missing during curtain call. Director hauls the deer head down from it’s place on the tavern wall and tells Gaston and Lefou to revert to the old blocking i.e. no gunshot, no bird, just walk in with trophy. During Gaston and Lefou’s conversation, gun shot sound goes off and a stagehand throws the bird onto the stage…from the wrong side of the stage. Lefou and Gaston stare at it in awkward silence for a solid thirty seconds before Lefou makes off-script, subtle joke about Gaston’s gun going off late instead of early. Cue adults in the audience laughing.

Sunday Matinee: Director begs the stagehands to get the cue right at least once. Gunshot and bird prop go off without a hitch. Lefou accidentally catches the prop when it falls from the catwalk. He’s so startled that he caught it that Gaston runs right in to him. They drop both the gun and the bird props, and grab the wrong prop in their scramble. Gaston spends the rest of the scene gesturing dramatically with a stuffed pheasant, instead of a gun.

Sunday Night: 

Director is fed up with bird prop, decides that Lefou should just carry bird prop in after gunshot happens off stage. Lefou accidentally squeezes the prop during the intro conversation, startling both actors into silence with the squeaky toy noise – apparently, neither of them realized it was a dog toy.

Monday Elementary School Show: Lefou walks on stage with the bird. Accidentally drops the prop during conversation with Gaston. Gaston doesn’t notice the dropped prop and steps on it. Cue depressingly sad squeaky toy noise. Cue ten years olds laughing.

In a dress rehearsal for Peter Pan, Wendy forgot one of her lines and started singing the star spangled banner and the audience was singing along and people got emotional

Once during the closing night of our high school production of south pacific, we were havin our pre-show pep talk, and our director reminded everyone (mostly seniors) not to go off script to try to be funny. Of course we had one lead who decided to ignore this advice. So during one scene where the sailors were “fishing” at the edge of the stage, he decides to pull up his rubber fish, make a comment about how it wasn’t big enough, and throw it back into the “ocean”, which of course, was the audience.
Now, this probably wouldn’t have been too much of a problem if he had gently tossed it, since it would have landed right behind the pit. But naturalt, he decided that this fish had to break free in the most dramatic way possible, so he winds up and chucks this fucking foot-long rubber fish with all of his strength.
So now imagine the stage crew, all of us huddled together, silently screaming as this limp fish goes sailing over the heads of the audience in what looks like a low-budget reenactment of free willy, only to slap some poor parent across the face.
I swear, you could almost hear the chorus of “mmmm whatcha saaayyy” rising from all those backstage.
From that moment on, all rubber fish were ferociously guarded by yours truly, under the direction of our stage manager.

This post gets better every time it shows up on my dash

My Junior year of high school our drama club put on Peter Pan,which involved the construction of a small boat fashioned out of scrap wood,plaster and an old wagon. A few of the actors who were cast as pirates had to ride the boat-wagon down the aisle to the front of the theatre,which had a concrete floor that sloped. About halfway down the brake they were using to control their speed gave out,and they crashed into the front of the stage at high speed.The entire boat imploded. The actors just sat there in silence for at least a full 10 seconds in the midst of the wreckage before my friend Adena screamed “ABANDON SHIP” and they all jumped out and took off running.

When I was doing Oliver! in high school, Fagin forgot his lines for a whole verse of his big song (Reviewing the Situation). We’re all backstage holding our breath, because the pianist just kept right on going. So he just paces around onstage, muttering to himself about the lyrics he does remember, then at the end he jumps up on a table, shouts the last line, and then jumps off the table.

Cue wild applause.

Our high school did a production of Into the Woods, where Jack is supposed to free Red Riding Hood and Grandma by slitting the wolf’s throat and cutting them out of his stomach.

But Jack forgot his knife, so he strangled the wolf and ripped open his belly with his bare hands.

frozenfoxtails:

flikky:

flikky:

lauramichellekellys:

i think it’s time people realize that there is an actual need for shows to be professionally filmed and sold in order to stop bootlegs being filmed because no matter /how/ many times actors talk about bootlegs and ask for people to not film them people are still going to do it. Broadway is an incredibly hard thing to have access to when you’re a teenager or young adult and don’t live close enough to New York because overall, it costs a lot of money. There needs to be perspective from both sides and each side needs to give a little to take a little. Stop making theatre closed off for those who can’t afford to see it. Don’t just complain about a problem, realize that there IS a solution to it and fix it because at the end of the day, people are still going to want to see shows from Broadway and /will/ find a way to see them, illegally or not.

No but seriously.

This all goes hand-in-hand with the whole “NO ONE CARES ABOUT BROADWAY ANYMORE~~~ /SADFACE” BS spewed by Broadway industry/NYC tourism board people.

Like, they’ve got this narrative in their head that people just suddenly lost all interest in theater one day and are trying to paint themselves as the victims of an uncaring public completely oblivious to the fact that attendance went down around the same time that ticket prices started inflating into the hundreds for seemingly no other reason than “they felt like it.”

Back in the ‘90s you could get orchestra seating tickets for a popular new Tony Award winning show for somewhere between $80-$100.

Now?  Theaters are charging the same amount for seats in the nosebleed section with an obstructed view.  It’s ridiculous.  Orchestra seat tickets these days are going for as high as $500.  That’s a 400% increase over the course of twenty fucking years.

Imagine spending ~$1000 on a night out with your partner and that doesn’t even cover the cost of dinner.

Outside of lotteries – which not every theater does, aren’t highly advertised, are not easily accessible to people who work/are visiting –  it’s literally impossible to buy a pair of tickets without ending up spending somewhere between $200-$400 unless you’re seeing a show that’s been running for over ten years.

People can’t afford to go to Broadway anymore.  

Or if they do, they have to save up or wait for a sudden influx of money and then choose one show that they really want to see that year and hope anything else will still be open by the time they get the money to see that.

You cannot continue to price more and more people out of Broadway theaters and then 1) complain that no one’s coming anymore so they must not care, and 2) complain that people are finding other ways to try to experience these unnecessarily exclusive shows.

The film industry was partially founded on the idea of making theater more accessible to people who couldn’t patronize Broadway.  When did the theater industry decide that film was its enemy?

No wait, I’m not done.

People want to see the shows.

That’s why bootlegs exist!  Not because people are selfish, but because they can’t afford the only means of actually seeing them.

You really think that people who pay for bootlegs wouldn’t happily pay for a legitimate professional recording?

Why do you think Andrew Lloyd Webber is slowly working his way through his entire catalogue and putting out DVD’s?  Of even the FAILED projects!  And people are watching them!  They’re watching them so enthusiastically that he’s in the process of reviving at least one of those epic failures!

For fuck’s sake even the Metropolitan Opera has a partnership with one movie theater chain to livestream their productions because they understand this very basic concept that people will pay to experience something they really want to but not if they can’t afford it.

Also, What does it say that every time a musical is filmed and released, it always has big named stars attached to it, it’s always labeled with ‘movie of the year’ and always tops the box office for the weekend it’s released? 

The fact that Phantom of the Opera with gerard butler earned back more than twice it’s budget despite heavy criticism. Hairspray from 2007 earned almost 3 times. Mama Mia earned back 12 times its budget. 

Because i can afford ten dollars to see a movie, i might even be inclined to see a movie twice or three times in theatres, and still buy it on DVD for 25$ when it comes out. which, all in all is less than 60$. 

Clearly the point ins’t that musicals aren’t popular, despite what pop culture would like to tell you about theatre kids.  Musicals are always popular, and movie musicals almost always do well financially, and id bet money its because it’s a lot easier to take a chance on seeing a new movie for less than the cost of a dinner than to see a broadway show for the cost of a mortgage payment.

I can think of three live shows filmed, off the top of my head (Rent, Shrek and Cats) and they’re all very well done, (i mean, cats as a show is kind of generic) I own a copy of all three, and to be honest I’d rather have copies of these shows as filmed on stage then the ones i have that are actual movies. Stage performance is an entirely different medium than film performance and you can’t really encourage people to embrace a new art form if youc ant expose them to it.

I know Broadway HD is trying to set itself up as a netflix for Broadway shows, but it needs the support of the industry if it’s going to go anywhere.

soulpunchftw:

agatharights:

musicofthestage:

crutchiee:

tbbackus:

lucasbieneke:

Apparently my director went to see a production of West Side Story a few years ago, and the guy playing Chino forgot his gun before coming out for his final scene. Once it got to the big scene where he is supposed to shoot Tony, he screeched “Poison Boots” and kicked the actor playing Tony until he went down. The girl playing Maria then had to jerk the shoe off of Chino’s foot, and had to do the gunshot scene asking “How many kicks Chino? How many kicks, and one kick left for me”. 

There should be a blog dedicated to theatrical urban legends. Like that opening weekend of Dracula where Dracula (still hungover) vomited all over the audience during the first stage direction that everyone has a friend of a friend that worked on the show and was there.

or the one where the bridge never came out for Javert’s suicide and so he just pretended to stab himself and then lay there until the lights went out

best story i heard was when a friend of mine saw a show where juliet forgot to bring the dagger out on stage so she just ripped the squib out of her chest and blood squirted everywhere

During a passion play a friend of my brother was supposedly in, one of the roman soldiers who was supposed to stab jesus on the cross and accidentally grabbed the wrong spear- he was supposed to grab one with a fake tip, but instead he grabbed one with an actual metal tip and, well

Jesus screamed “JESUS CHRIST YOU STABBED ME”.

Since that Jesus had to be taken down due to a bad case of stab-itis, the backup Jesus came in, but he weighed significantly less than the original Jesus- which would have been fine, except that at the end the cross was supposed to ascend upwards with Jesus on it, and the weights hadn’t been adjusted.

So Jesus, instead, ROCKETED UP into heaven (or, just, above the stage).

This is wild from start to finish