While watching Fetch Clay, Make Man and during the conversation we had with the stage manager, I connected a lot of what we had mentioned in class with what I had seen and heard. The first thing I noticed during the show was something that was brought up in class discussion, and that was the fringe hanging down on both sides of the stage. The moment a transition began where the furniture moved across the fringe, I immediately thought about how the fringe could get caught on something that was moving. Luckily, the night I went to see the show, the fringes didn't get caught on the furniture after I pulled it back. I actually thought, seeing the show, "that's something that was in the registry," referring to managing bangs after a transition. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Another thing the fringe has brought up is the communication between the stage manager and assistant stage manager during the show. We talked in class about how important it is to be able to have a good line of communication between the SM team, especially since after the rehearsal process, SM and ASM are no longer side by side. Hearing how SM and ASM were able to discuss, and even joke a little about, bangs during the performances showed me how well their SM team was able to communicate during the course of the show. I also think that because they worked together before, it was easier to maintain that level of communication. This also brings up a point that was made at the beginning of the semester, which is that establishing good relationships with the people you work with on a show will only help you move forward. It was clear that the good relationships shared by the SM team were very helpful for a successful run. Also, because they were able to joke about bangs in a light-hearted way, they did something else we discussed in class, which was to use the principles of Fish!, specifically “Choose Your Attitude.” They could have instead gotten very frustrated every time on the sidelines, but instead, by laughing and joking about it, they made the problem of dealing with the sidelines less of a problem, which made everyone happier and more productive. Another example of relationships I thought about when we discussed the show were the relationships between stage managers during a co-production like Fetch Clay. This was evident when he discussed the quality of work done by the other stage manager in the first part of the production. I think not talking about the quality of the work in the other theater is a good decision, because doing so now wouldn't help anything and could hinder the relationship between Roundhouse and the other theater. Additionally, I thought it was remarkable how she managed to create her own block script and tracking sheet if so many original documents were missing, based only on a recording of the show and a couple of days of rehearsals. As I watched the show, I noticed how the different objects and actors moved around the stage in each scene. There were many instances where I consciously thought about object tracking on stage. One example was when Stepin Fetchit left his hat on the couch during a flashback transition, and then went to get it back after the flashback ended. I was thinking about how we talked about knowing where a prop is at all times, and I thought this was a good example, because if in rehearsal they were just working on the transition from the present to the end of the scene, it would be important to place the hat on.