Working in LA

[cajundrama]

Hi Everyone,
I'm a young SM who at the moment is non-union and has been Stage Managing since high school. I have been living in Los Angeles for almost 2 years now. I moved out here after college to work in film, but missed theatre so much and about 5 months ago went back to it in hope to earn a living SM-ing. It's really really rough. I'm just getting started professionally and haven't had any guidance about doing this in LA (or anywhere actually). So I have a few questions that I would love an honest answer to.

1) Is it possible to earn a decent living working as a Stage Manager in LA?
2) If so how?
3) If not where should I move to have a better chance?
And most importantly....
4) Is it really possible to earn a decent living as a Stage Manager at all or will I be 45 and still teaching yoga part-time waiting for the next gig?

I know it's a lot to ask but I really would appreciate answers. Thanks! 
~Cate

[Bkstgboy]

There are plenty of stage managers in LA/SoCal who make their living as a stage manager.  It's hard to make a living starting out as a non-union stage manager anywhere, but I think the best thing to do careerwise is to email some of the bigger companies like the LORT houses and see if they need production assistants.  If you go to Equity's website, look under documents for the LORT rulebook.  The final pages will list the theatres and their addresses.  Look at what's commutable, look up their website, and email the production managers your resume.  Besides LORT, there are some theatres that use the SPT or HAT contract that don't require the ASM to be union, so you could angle yourself to be an assistant on those shows.  Disney is another alternative, as is LA Opera.  The good thing about LA is that there are a lot of TV/Film stuff you could find on Craigslist when you have gaps in your schedule.  I hope you've been having luck on your search!

[megf]

In addition to Bkstgboy's great recommendations - you might also look at Mandy.com for leads on production assistant work. Mandy tends to be weighted toward the film and TV business, but I've seen a number of listings for non-union theatrical stage managers on the site. Also, look into Universal Studios - I know they have stage managers on a number of shows in the theme park, and it's a great way to fill out a patchy few months and meet a some cool people at the same time. (Also, depending on what part of town you're in, it might be much easier to get to than Disney!)

Best of luck, and keep us posted on how things go!

[thankyou5]

Since Disney has been recommended, I just want to throw this out there.  They are on a hiring freeze until at least September.

[MatthewShiner]

What I find very interesting about, at least some of the living wage jobs in LA, is the theatres are VERY cliquey - although a lot of theatres are that way - it seems you have to wait for someone to die or move away to get a foot in the door.

[Bkstgboy]

I agree with the cliquey assessment.  It's really interesting that none of the major LORT houses there have resident stage managers yet they all have their own small pool of freelancers that they pull from.  It is definitely easier to get in over there if you're nonunion, only because theatres such as CTG and the Geffen, for example, have LORT D houses that allow them to hire a nonunion ASM.  I also know that the Kirk Douglas (CTG) and both of the Geffen houses have nonunion crews, so anyone with some sort of technical background could try to get an "in" by crewing at first.  My "in" was through interning as a PA a few years ago which then rolled into a paid PA position on the next show, and then a year and a half later getting my card with them.

[loebtmc]

just a side-note - CTG does not have non-union ASMs, tho they are allowed PAs (other than perhaps the Kirk Douglas, which has mixed requirements), same w the Pasadena Playhouse, where they are allowed non-AEA understudies too - but in my experience and for whatever reason, CTG takes PAs from the local universities (where their small pool of regulars teach) but prefers to interview/hire SMs who have NOT grown up/ worked/based in LA, and esp now under Mr Ritchie. I know amazing SMs who can't get into the building while folks who have one or two regional credits, or even one NY Showcase Code on their resumes, get called in to meet right away. Frustrating.

[MatthewShiner]

Ironically . . .

I have found that when trying to get a job on the east coast, having west coast credits help.

When wanting to get a job on the west coast, east coast credits help.

When working in the middle of the country, working on either coast helps.

I think it's all a part of "grass being greener".

[Bkstgboy]

Typically every CTG production will have at least one PA during rehearsal.  The Ahmanson (LORT A) always has at least 2 SM's (but usually 3) and a PA who can't be built into the run of the show.  The Taper always has 2 SM's (again, sometimes 3) and can have their PA be a part of the run of the show.  The Kirk Douglas only needs one SM and the PA can be the one running the deck.  Although lately they seem to be hiring a 2nd SM for that venue.  Going back to Matthew's last comment, they do usually hire SM's from NY since they do so many co-productions with Broadway aspirations that they tend to hire at least one NY SM on each of those shows.  When they did Pippin this year, the PSM and 1st was from NY, their 2nd was local, and they had 2 PA's who were built into the run of the show (again, both local).  And loebtmc you're right.  CTG has a relationship with USC so they get a lot of interns through that school.