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Messages - BayAreaSM

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1
Students and Novice Stage Managers / Re: Stage Manager Duties
« on: Oct 09, 2017, 02:54 am »
A handful of years ago I went to an off-Broadway production in NYC and was surprised to see the AEA ASM was also an understudy. I had conferred with another AEA member at the time and was told it was kind of the thing in smaller houses. So it's not unheard of, but as smejs said, it would be something that was listed on your contract/rider for an additional fee.

2
The Green Room / Re: Remembering Nick Tochelli
« on: Oct 07, 2017, 04:54 pm »
Very sorry to read this. I remember reading his posts often on smnetwork. Thank you for letting us know and hopefully updating us when contribution information is available.

3
The Hardline / Re: Who has worked on/ attended Fringe Festivals
« on: Jun 21, 2017, 02:31 am »
I am a SM on a NewWorks festival, and this will be my 8th year of working it this summer. I'm on 2 CERs for the new work and we only perform twice during the 2 week festival. Feel free to message me if this is what you're looking for.

4
Tools of the Trade / Re: Rehearsal Reports
« on: Jun 21, 2017, 02:29 am »
It's still necessary to have the record. At least for the AEA work I've done over the last "X" number of years, a daily rehearsal report is expected.

Even if you feel nothing eventful happened, you still note the hours of the rehearsal, any absences, any tardies, and what was worked. Sometimes a director may turn to you and ask "when did we last work on scene 3?" and if you have your reports, you can tell them. Also - sending this record of what happened during the rehearsal can tell how long certain scenes are taking, which can help get you support if blocking/etc is taking too long to accomplish and you're running out of rehearsal time before tech. Granted, this may not help at the high school level - but it will in the future. Also, it will help you understand how fast this director works - and help you gauge timings for upcoming rehearsals.

5
Introductions / Re: SM Down Under
« on: May 29, 2017, 03:44 pm »
Here's an official welcome!


Please do share your insights on working in ballet and opera in New Zealand in the SM: Other board - we would love to hear about your experiences and see how it differs from other's experiences.


What exactly is "relief teaching"? I'm not familiar with the term. Though it has been a while since I've been in a high school.

6
Introductions / Re: Hello World, This is me~
« on: May 25, 2017, 11:30 pm »
Welcome, Holly! There is also a Facebook page Stage Management Jobs in Opera, as well as the Job Postings child board of our Employment board - if you'd like to post your SM jobs there.


Please check out the SM: Other board and see if you can answer some questions for our SMs that are new to the worlds of opera and dance. We'd love to hear from you.

7
Introductions / Re: Theatre on an Island?
« on: May 22, 2017, 12:14 am »
Welcome!


So glad you decided to make an account. I'm not very familiar with the East Coast - so what are some of your "interesting" challenges?

8
Introductions / Re: Introductory post
« on: May 15, 2017, 02:40 am »
Yup - punching on the right is my favorite thing too. Though when there are script interns at some theaters, it seems to be the hardest thing to explain to them. I've finally had to break it down to "just give me an unpunched script".


If you have others making your original script copy for you - how do you ask them to do it?

9
ASAP! My husband got me a lightweight when I was an intern, and I was SO THANKFUL. On my first show I was stuck with a huge head squeezer, so it was fantastic to have my own for my second show.


As bex mentioned already, it can make things easier, since a lot of companies don't carry a bunch of lightweight headsets. The only thing to be careful about is if you're on wireless, and the packs aren't specifically assigned, you will want want to unplug your headset at the end of each night. Several years back my company didn't label the wireless packs, and I didn't like taking the chance that my personal headset would end up on someone else's head. So, after you turn your pack off, unplug your headset and store it until the next show.


Of course, if you're on wired, then it doesn't matter.

10
Stage Management: Other / Handling Assault in the Company
« on: Mar 20, 2017, 05:42 pm »

For the majority of ballet companies, the artists are contracted season long. Friendships naturally happen, romances blossom and there are cliques. For any of us who have worked in ballet, we've seen it all. But what happens when couples break up, cliques get violent, dancers show up drunk - or worse? I've been around the break ups, the violence, drunk and on drugs, but I've never dealt with this:

Last week, a male member of a ballet company sexually assaulted a female co-worker. He texted her repeatedly to be allowed to come into her apartment. She said no and went to sleep. He texted her roommate, also a coworker, and told her that he couldn't reach the other girl, but she had said he could come over. The roommate lets him in and tells him to sleep on the couch, as it was 4:30am. Instead, the man goes into the first girl's room, sees her in bed and starts to rape her. She wakes up during the act and tells him to stop, which he does and he leaves. She then goes to the police with her story and he gets arrested. When questioned by police, he does not deny the assault.


When this happened, the company was about to go on tour. The male dancer is in jail, so he's removed from the company. But he's plastered on the local papers for the tour, and the show opens the evening after the assault. My mind is racing with what that company is going through on several levels. I feel awful for the female dancer. She's been violated, in a place she felt safe, by someone she's known for 7 months, someone she sees every day at work. The male dancer also has a girlfriend in the company, who must have mixed feelings on this. The company performed the night of the assault and performed the following night. Granted, in ballet, there are several casts, so casting has obviously been worked out as performances continued.


I can only assume the male dancer will be let go, as I can't see how he could be brought back into the company. I've noticed nothing on Facebook on the male dancer's page nor the company's page. No mention of cast changes either. (I used to work with this dancer at a different company.) The company has obviously done very well in keeping things under wraps, but I'm curious as to what other stage managers would do in this situation.


Like I said, I've dealt with violence, drugs and drinking - the drug use during performances was handled with firing the dancer immediately after the curtain came down, even though we were mid-run. Violence was handled with verbal warnings and notes in HR files. Drinking cases resulted in write-ups that just about went no where. When you don't have a large number of dancers in your company, it's hard to suspend someone or fire them, because you can barely make a show happen without them.


Knowing that upper management/artistic staff/HR are doing the heavy lifting in this situation, how do you, as the Stage Manager, handle this?

11
I agree - you're going to need more time than just the day of the birth. That time really is precious, and you're going to want to be there. All SMs have such a strong work ethic - but this experience is going to top that real quick.

Keep in mind that isn't unheard of in AEA for a SM to just run rehearsal and have another SM call the show. And true, unless you're inducing or scheduling a c-section, that due date isn't set in stone. (I planned mine for the off season, but I spent one day walking around "too much" and ended up having my son a little over 2 weeks early.) If you're going naturally, assume that anything 37 weeks and forward is fair game for the baby to arrive.

Let your employer know now, and as KMC said, have a solution ready at the get go. You obviously care about this company - and you want to be there as much as you can. Hopefully they will see it the same way and things can work out well for both parties.

12
The Green Room / Re: PSA: Daylight Savings ends tonight!
« on: Nov 29, 2016, 03:39 am »
I felt so compelled to write to my entire team of A/V techs to remind them about DST. My boss said, "No, they are adults and can figure it out for themselves."


However, I still snuck over to my labor scheduler and asked that he include the DST note to the specific techs working on Sunday, when he sends their job info emails.


There are little bits of SM that never seem to go away...

13
The Green Room / Re: Sunday BBQ
« on: Nov 29, 2016, 03:36 am »
My husband did a dry brine of salt & baking soda on our turkeys this year. The first turkey sat for 24 hours (refrigerated) in the dry brine and the 2nd for 48 hours. He turned our electric grill into a smoker, using applewood chips as well (I have no idea how he did it). But it did take about 4 hours each.


Oddly enough, the 48 hour turkey was juicier and more delicious, but more salty than the 24 hour bird. We're shooting for 36 hours next time.

14
The Green Room / Re: Kay
« on: Nov 21, 2016, 02:37 am »
Yes, thank you, Kay, for keeping SMNetwork running. I really appreciate that you created such a valuable resource for SM's all over the world. Your work has helped so many, as I know it helped me.

15

I see I'm a little late to this, but here is my advice, from 13 years in dance...

It's not really a major problem if you don't know a lot about dance. I came into SM'ing for dance even though I hated dance shows in college and knew absolutely nothing about it.


What you could do is get into a basic adult beginner ballet class, to understand what the body is doing and pick up some terminology. Google Balanchine ballets and watch the patterns and find the stories behind the ballets (that's what made Balanchine palatable to me). Hopefully at the festival you noticed patterns of light/choreography - watching the bodies and see how the light corresponds. Dance and lighting go hand in hand, and once you learn how they play together, even if you don't understand dance terminology, you will get a sense of where the next cue lands.


A lot of SM'ing for dance is knowing all of the movement - for myself, I write everything down, which helps me memorize it. Then I can sit with the choreographer & LD and help translate between the two of them, confirming where the cues fall. A big thing about lighting for dance is knowing what the motivation is for the cue - and is the cue landing with the final pose, is it extending through the movement...etc. If you can find it, Twyla Tharp's In The Upper Room is an excellent example. I've done that piece a few times, and it's an excellent understanding of light with dance. There are cues that highlight a tight movement, others that move through with the dancers patterns.


You sound as though you're musical, which will help a lot. Just understand that with dance, the performers aren't always on the music - and the question you will have to ask the LD/Choreo is: which is more important - the music or the movement? And that means knowing your choreography, knowing your score and knowing your cues so that you can watch and make the best decision for the cue when calling. You can't stare at a stopwatch or a score 100% of the time when calling ballet. (And that matters all the more so for scenic shifts.)


You're welcome to PM me if you have additional questions. Unfortunately I am no longer in the business, but I do have a connection at the Joffrey in Chicago...

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