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Messages - MatthewShiner

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Well, the first thing you could have done was sign a contract that actually reflected the dates you planned on working.

And then you should have asked for a weekly salary based on that.

500.00 for the first part of the show, paid as $100.00 a week.

It's hard when working non-union because you don't have the union backing you up.

Employment / Re: What are the effects of resigning early?
« on: May 14, 2016, 07:58 pm »
Every AEA contract should have an out listed - the number of weeks you need to give notice.

If you do not give that notice, you could end up owing them money.

As long as you pay that money, you have fufilled your contract.

There is the stigma of walking away from the show that may or may not follow you - depending on what market you work in.

The Green Room / Hiring a Friend
« on: Apr 28, 2016, 02:59 pm »
Me and my boss are discussing this issue . . .

Hiring someone you know personally versus hiring someone you don't know?

My personal philosophy is that I can't hire anyone I am not willing to fire - and sometimes the friends I have are worth more as a friend then a team mate. 

Although I am also arguing that sometimes, I just want someone I know, someone I can trust and someone who's stage management philosophy lines up with mine . . .

Maybe it's worth the risk.

The Green Room / ARTICLE: Why we get frustrated . . .
« on: Apr 24, 2016, 03:05 pm »
Interesting read . . .

Employment / Re: Dubai Opera Job Postings
« on: Apr 20, 2016, 01:29 pm »
Hey jman255 - I think I interviewed for the job you have.

The issue I have with the homosexuality and this was the case for me and my husband - was the relocating for me was always going to be easy, with a company sponsoring the visa, and all the work permits . . . but bringing a spouse over is difficult, almost impossible, in any place where my relationship is deemed illegal - and can carry prison sentences. 

When I consulted a immigration lawyer, I just felt like . . . well, why move to a country where I am just not wanted.  You know?  Yes, the reality is that homosexuality will always exist, no matter the legal standing.  But at my age and position in life, I just don't want to live with the threat of being deported on the whim of the government. 

Given in one year, I helped develope 7 new musicals at various stages, I am just not sure how this would be regulated . . . One of the shows that was in a very long incubation - has gone through 12 SMs.  And I was not able to do the most recent production.  Would everyone who ever did a reading or workshop get their fair percentage of a certain percent?

The Hardline / Re: Equity breaks again
« on: Apr 19, 2016, 06:46 pm »
Technically, there is no stipulation for a straight six in the Guest Artist Contract.

This would need to be brought up to AEA - given he is the only person, and he is asking for it - I doubt the union would not grant this concession - but technically, no . . . a straight six is not listed as an option.

I don't the history of this contract, but technically your Executive Director is right; this contract does not allow it with the rules as written.

Employment / Re: Dubai Opera Job Postings
« on: Apr 19, 2016, 08:03 am »
When I was working internationally, I was offered a job in Dubai . . . once I made it clear that I would be traveling with my husband (so, two gay guys), and one who is not middle eastern or caucasian, the job was offer was rescinded - for "my protection".  Dubai has a lot of interesting things going for it, but it's economic and social issues are very complicated . . . do some research.  Some people love it there, some people count the minutes until they can leave.

The Hardline / Re: Equity breaks again
« on: Apr 19, 2016, 08:01 am »
What contract are you on?

Most of the time to do the straight six option the AEA Actors/SM need to vote on the option to use it . . .

Employment / Re: Negotiating Rates
« on: Apr 07, 2016, 12:47 pm »
This is very tricky.

I usually start at 10% over minimum (This is a number that most producers are aware of because usually agents don't get a fee unless their actors are being paid the 10% of minimum).

But, a lot of the times, the budget is the budget and you don't get a lot of wiggle room on negotiating the salary (and if you are in favored nations, well that complicates things).

Yes, negotiate the other things - travel, housing, car, parking, higher per diem (this is often how I have gotten around the favored nations issue . . .), a firm petty cash situation (So you won't be spending any of your money), taxi/metro reimbursement, meals during tech, and extra day off, etc.

If you have to negotiate the salary, you need to start up-selling yourself on what you bring over the minimum . . . do you have a long history with that producer?  long history with the director?  history with that type of production (musical, dance, etc)?  supervision and training of interns, PA's, house ASMs?  Are you going to be a doing a lot of work prior to the event . . . can you negotiate a longer contract, thus raising your income.  (Seasonal work, if I have gotten two weeks of prep . . . and that extra week of work helped make up for the lower weekly salary.)

These are all tricky up-sells since there are probably other SMs who are willing to do the job for less.  So, the thing about negotiating the higher salary you might need to be prepared to lose the job or do it for minimum.

I often "accept" the job, and deal with the details at a later date.  Often then they have released other potential SMs, and then I  negotiate the details - yes, I am prepared to work for minimum at the contract level I work at . . . but it gives me a wee bit of negotiation room if they don't have three other people chomping at the bit.  I tend to start conversations "Yes, I am doing this job, but it would be nice to if we can find a higher salary for the job" - and then I go into the sell.

But the best answer is to work on larger contracts where the minimum is meets or exceeds your minimum needs.

Hey, my buddy Matthew Stern is doing another Broadway Stage Management Symposium, June 4 and 5.  The chance to be in the room with Ira Mount, Sherry Cohen, Mahlon Kruse and Jeff Lee is worth quite a bit.

Attached is the flyer.

The Hardline / Re: Daylight savings & Rest Period
« on: Mar 06, 2016, 01:50 pm »
I've always made the adjustment to allow 12 hours or pay the overtime.

The factory example only works if you can guarantee someone is working the full year . . .

I am covered an extraordinary risk rider on my current show, due to climbing a 15 foot straight ladder to get to the calling station.

I have been covered under it before working on a rake deck, and having to crawl under the deck.

As an union SM, I never had to handle pyro, etc - so thus have never been covered under the clause for that.

and if the sequence is really tight, you might want to either have sound take their own GO or put them on a cue light.

That way you could do

Standby LX 15 thru 35, all on the "G" word
Sound 7 on your own (or on the cue light)

And that way you can just say go.

On my current show, we have one number where we say Standby 600 Series, and then just say go every two beats.

here's what sends out at HBND.psm email address

The Hunchback of Notre Dame played its final performance on April 5, 2015 at The Paper Mill Playhouse.

Your email has been forward to M. (Matthew) William Shiner, but please note his personal e-mail is <my email here>.




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