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Messages - rvhead

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I second the "thanks" for the info and would appreciate any and all tips/advice/words of wisdom for first-time stage manager moms! I'm scheduled to go back to work a mere two months after the baby's due, and it scares me to pieces! Luckily, I'm blessed with a great employer and a super supportive staff, but it's still a daunting prospect. Any helpful hints would be greatly appreciated!

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In Chicago, having the non-equity theater on your resume will not help you at all. They are not well-regarded in terms of just about anything. And don't expect your check to clear! (Again, as above, this is not an attempt to badmouth anyone -- just a fair warning -- their bad reputation is fairly well known around this city and you would be hard pressed to find a technician or stage manager who has a positive story about them.)
The equity theater, on the other hand, though recently re-formed as a company, is quite well-respected and a good group of people to know.
Whether you're ready for your Equity card -- that's always a tough call! Weigh all the pros and cons and let us know what you decide!

MODERATOR'S NOTE:  theater names have been removed from this post.-Rebbe

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Regarding the University of Northern Colorado -- I went there a loooong time ago, so things may have changed, but... The best thing about the school was that they did NOT have a grad program in theatre, so undergrads were often getting hands-on experience right off the bat rather than learning it in a classroom while the grad students do the actual shows. They also had a pretty good summer-stock program where I was able to work with Equity actors for the first time in sort of a safe environment. However, they have run into some scandal of late regarding the head of the musical theatre program -- google it, you'll find some horrifyingly yucky stuff - so who knows what will become of the school's reputation or, for that matter, their musical theatre program (another thing that was great about my education -- SMing HUGE scale musicals -- after the shows I did in college, everything else has seemed easy!)
And no, Greeley is no kind of mecca for the arts. I think they have opened up a semi-professional dinner theatre there since I left, but Denver is the closest place for real employment after college, and there never seemed to be enough open jobs in the Denver area for all the skilled graduates the school was turning out. (ScooterSM went there too, at the same time as I did - curious if she agrees with my assessment).

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The Hardline / Cancelling a performance
« on: Jun 17, 2009, 01:49 pm »
A small young theatre company that I am semi-involved with is facing a dilemma. They are currently producing a one-woman show (under an AEA contract: AEA actor and Stage Manager). The audiences have been really, really small. On one particular evening, only two audience members came. The actor and SM took it upon themselves to cancel the performance that evening, and the two patrons kindly said they'd come back a different night. HOWEVER, I cannot find a single thing in the AEA rulebook allowing for an actor or SM to cancel a show (or "refuse to perform") based on low audience turnout. I understand that it is awkward to do a one-person show for just two patrons, but contractually, she's gotta do it, right? Does anyone know of a rule that allows for this?

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Self-Promotion / Re: Add your Industry Night info here!
« on: May 01, 2009, 06:31 pm »
Northlight Theatre in Skokie IL has $10 Industry tickets available for all previews of "Lieutenant of Inishmore" (tonight through Wednesday May 6). It's hilarious comedy and the bloodiest show I have ever done. The special effects are really something to see!
visit www.northlight.org for more info. Industry tickets can be reserved over the phone or you can just walk up. You'll need to bring a resume, business card, headshot, or other proof of industry.
Rita

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Stage Management: Plays & Musicals / Re: Child Labor Laws
« on: Nov 08, 2008, 06:34 pm »
Yeah, they're being paid. (Pretty well for that age, I might add!)
So I solved it as best I could by staggering the kids' calls and calling the one understudy kid (she doesn't know the part yet, but she's super smart). So each kid is going to do a 6-hour day, and we'll be stuck with only one kid for the first couple and last couple hours of each day, which I think we can live with. We won't get a real clear picture of what the show is going to be, but we'll have bodies where we need bodies and none of the girls will go into final dress and previews being clueless about what's going on. The nice thing about these girls is they are becoming fast friends, and will help fill each other in on what happened while the other one was away. Thanks everyone for your input on this.

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Stage Management: Plays & Musicals / Re: Child Labor Laws
« on: Nov 06, 2008, 04:20 pm »
The law looks pretty clear that we can use them 24 hours per week, max of 6 hours per day. Any suggestions on how the heck to handle two 10 of 12's? The kids are in a lot of the show. They are important roles and they have a lot to learn and get used to with this show (turntable with a two-story house on it, entering and exiting in blackouts, working with a full orchestra when they are currently used to just hearing the piano at rehearsal...etc etc etc...) I am searching and searching for a "loophole" that allows them to stay more hours during tech, but haven't found one yet. I know for a fact that other theatres here in Chicago do it -- are they just going with don't ask/don't tell? I am afraid of a very frustrating and unproductive two days of tech where my PA has to walk the role of the little girls...  and then when in God's name am I going to be able to teach these kids what is going on?
Has anyone out there worked on Goodman's annual "Christmas Carol"? How many hours did you keep Tiny Tim and his siblings?

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What exactly are the rules when it comes to kids and tech??? I've been SMing for a long time. I've done a lot of shows with kids in the cast (I'm talking regular grown-up shows where there happen to be some kid characters, not children's theatre). In the past I've not been asked to refer to child labor laws when scheduling the kids; I've done by best to schedule them after school, but I've rehearsed them for full 8-hour days on the weekends and they've been there for all of tech (10 out of 12's). The show I am currently rehearsing has two girls (age 10 and 11) and management is insisting I follow the Illinois child labor laws: 6 hours a day, no more than 24 hours a week. It will be near impossible to go chronologically thru tech if this is the case, plus I'm caught between a rock and a hard place because the director is saying "go ahead and call them for the full day". How can I even accomplish a run-through of the show at the end of the tech process? I know for a fact other theatres in town (high profile, well known theatres) use their child actors far more than 24 hours a week, without fear of breaking any laws. How do they get away with it? What is the real story? Please help me out, and quickly -- tech is fast approaching!

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Uploaded Forms / Re: rehearsal reports
« on: Sep 02, 2008, 09:13 am »
I always document the breaks on my rehearsal reports, just in case. If there is ever an actor saying he or she didn't get their proper breaks, I have it documented. If breaks are staggered it will end up looking something like this:


BREAKS: 11:20-11:30;   12:50-1:00;  2:00-3:00;  staggered breaks through end of day

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Tools of the Trade / Re: Erasable highlighters?
« on: Mar 22, 2008, 07:49 pm »
AEA has erasable highlighters that work pretty well. They've been giving them out at first rehearsals lately.

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In the production I did several years ago, we removed the actual head of the drum on one side and replaced it with thick wrapping paper, pulled very taut. You can beat on the real side, and step through the paper side. It is fairly easy to replace the paper for each performance.

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The Hardline / Re: AEA as PA
« on: Nov 24, 2007, 06:03 pm »
I have done a couple of gigs as a PA even after having my Equity card for many years. Sometimes, a stage manager ends up with a few weeks free between close of one show and the start of the next, and being a rehearsal PA can be a good way to earn a little income between contracts, as well as making connections with new theatres and even picking up a tip or two from another stage manager.

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How funny - I'm the actual SM for this production. What made you choose "The Miser" for the challenge?

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