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Messages - MatthewShiner

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Self-Promotion / Disney's Hunchback of Notre Dame
« on: Today at 03:55 am »
If anyone is in the San Diego area (or can get down here during the run) and would like to Shadow . . . let me know.  We have a very aggressive cross training plan for the show, so not all dates would be available.

Christmas Carol is tricky, since most theaters use a very specific translation . . .

Employment / Re: Social media links on website
« on: Oct 26, 2014, 03:19 am »
No social media links.

No social media links.

No social media links.

remember, it's not only what you post, but what other people post on t.

Employment / Re: Which is better?
« on: Oct 21, 2014, 10:16 pm »
It's important to show variety in your career.

It will be important, professionally, to show that you get hired at the same place more then once - I am nervous when I see a resume where it's a person who has worked 20 shows, but at all different places. 

Employment / Re: Which is better?
« on: Oct 21, 2014, 03:18 am »
i would think early in you career showing a little diversity in your resume would be ideal.

Christmas Carol is tricky, since most theaters use a very specific translation . . .

The Hardline / Re: Recording rehearsals for designers
« on: Sep 30, 2014, 02:42 pm »
I disagree that videotaping rehearsals is
"it's *so much more* valuable to the producers"

Taping a complicated sequence for designers so they cast doesn't need to do it over and over again, it's pro-production - both producers and actors.  Think about a complicated tech transition with automation, flying, etc, that has to be scored . . . run it once, give it to the composer and move on.

Think about a complicated musical, where a swing has multiple tracks to learn . . .

A complicated show that a new SM needs to learn calling it . . .

Fight / dance work - although this has been approved for awhile.

I never see it a solution as pro union or pro-producer, but looking for the solution that is PRO-PRODUCTION, and I see this as a win-win solution.

« on: Sep 29, 2014, 02:46 pm »
i had no idea there were senior business reps.

are the ultimate business reps?

supreme business reps?

« on: Sep 28, 2014, 02:03 pm »
Okay, I have received three answers from various LORT Business Reps, and none perfectly line up.

One says, the as long as the "Block" of costume fittings is consecutive to the rehearsal block, and all other break rules are followed you are fine.

One says, that ANY fitting that isn't immediately consecutive to the rehearsal block is billed as overtime.  But see below for the work around.

What I have proposed to my business rep, and he has tentatively agreed, has to do with the work week - and I think i's a fair compromise.

In the case of the 10:00a fitting, that last 30 minutes, we deduct the 30 minutes from both the work week and the seven hour pool.  No one disagrees with that.

Then the 90 minutes downtime we deduct from the work week hours.  This keeps some accountability for the long pause, and keeps a SM from doing it multiple times.

THE MORE EXTREME OPTION - which was proposed as a work around, but no business rep seems to want me to go to this extreme - would be for the 10:00a - 10:30a Costume to be scheduled as a two hour fitting - 10:00a - 12:00n (so it's now consecutive) - but oops, the fitting let out 90 minutes early.  In that scenario, you have just burned out 2 hours out of the week and 2 hours out of the pool of seven.

Confused . . . well, as I said, the rule seems to be written to be vague.

Still waiting for an official answer from my business rep team . . . but, we do agree that there are ways to do this without overtime.

The Hardline / Re: Recording rehearsals for designers
« on: Sep 28, 2014, 01:34 pm »
Yes, it is allowed on the LORT contract, and I think it's an amazing use of technology.  Being able to dry tech, or paper teching a complicated sequence off a video is great.  Also, for complicated sequences, being able to check blocking off the video tape is pretty good back up.

I think this is a positive thing, and I wish it was allowed on more contracts.

But, you need to check that it is allowed on your contract - the more lucrative contracts seem to allow it.

Introductions / Re: The Worst Questions
« on: Sep 25, 2014, 10:31 pm »
I like to say "I say go for a living" and leave it at that . . .

but the cocktail party answer I have is "I work in management of live entertainment events, on the production side, help facilitating the directors vision and mainting the show during the run."  Leave it at that.

« on: Sep 25, 2014, 07:40 pm »
Not getting a clear answer from my business rep - - - seems to be an on going conversation . . . will let you know when I get a clear answer.

But, I think, from all my conversations is this is a deliberately vague rule to allow interpretation . . .

A gray area on purposes.

« on: Sep 25, 2014, 02:19 pm »
What's tricky is full AEA company (but two), and an ensemble based show . . .

I asked this of 12 people privately, and go basically six different answers . . . its a vague area.

And - this seems to be a different readings of the rules based on the East Coast versus West Coast, as well, as individual business reps.  Vague rules are normally open to various interpretations . . . which is often good - this is getting tricky.

I don't think the union actors should bear the brunt of understaffed costume fittings or a designer's schedule . . . but I don't want to end up with a ruling that hinders production.

« on: Sep 25, 2014, 01:49 am »
I sent this to some people directly . . .

So, today, I went crazy, and realized I may have been doing something “wrong” per AEA.  And I wanted to see how you, the theaters you have worked at in the past, or your current theater deal with this particular issue.
I have a pending ruling with my current AEA business rep, who should remain nameless.
Issue – Costume Fittings

Contract LORT

Rule In Question:
(b) After the Beginning of Rehearsals.
In addition to rehearsal time, but within the maximum hours of the workweek as outlined in section (A), the Theatre may schedule a combined total of no more than seven hours for costume and/or photo and/or media calls per production.
Costume calls must be consecutive with the rehearsal hours as specified in section (A) and must be calculated in segments of no less than ˝ hour. Combined rehearsal and costume calls may reach a maximum of six consecutive hours without a break.
Current show:  I have a maximum rehearsal week of 42, with a work week of 45.
So, let’s just out line some important numbers . . .
I have 3 hours outside of rehearsal that count to the work week, these reset every week.

I have 7 hours for costume/photo/media calls per production.
The sentence that I am wrestling over is . . .

Costume calls must be consecutive with the rehearsal hours
I have always read that (and had a previous verbal ruling to back me up, from a business rep, who is no longer a business rep) as to mean all of the costume fittings scheduled prior to rehearsal, need to be consecutive to the call.  So, this rule would not allow you to do costume fittings from 8:00a – 10:00a and then do a rehearsal call from 3:00p to midnight.
So, for this example, let’s say the rehearsal day is 12:00n – 8:30p  (7 hours plus 1.5 hour break, the full amount allowed on a musical.)  Let us say for this example, the full cast is always called.
I get a request for 4, 30-minute costume fittings for Friday.
One reading of the rule would have me able to schedule
10:00a – 10:30, 10:30a – 11:00, 11:00 – 11:30a, 11:30a – 12:00n, and then rehearsal.  Since these costume fittings, as a group, are consecutive to the rehearsal hours, we are fine.  Each person would deduct 30 minutes from their “work week hours”, and 30 minutes from their “seven hours”.
The debate we got in today (and it doesn’t matter who the debate was with),  was as follows, “No . . . any fitting that is NOT right before the rehearsal, would be paid as over time”; so in my above example, the 10a, 10:30a, and 11a fittings would be paid as overtime.   Thus you can have only one costume fitting per day prior to the rehearsal.
How  do you deal with this – trying to serve the show, as well as being a good steward of the theater’s money?
My work around solution would be as following . . .
For the extreme example from my outline of the day would be - For the 10:00a – 10:30a fitting, we would deduct the 30 minutes from the work week, and the 30 minutes from their seven hours for press/fittings/etc.  And then the time between 10:30a and 12:00n – 90 minutes – we would deduct from their work week hours - so those get burned up.  (I feel pretty strongly it doesn’t come out rehearsal hours.)
Has anyone gone around about this? (and I am interested in west coast versus east coast in particular)

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