Messages

1

Employment / Re: Working Outside the States

« on: Dec 17, 2011, 11:44 pm »

If I had to put it in order, I'd say theatre, then opera, then musicals, but obviously I can't be really picky about where I get work. If you're equity in the UK can you also be equity in the US?

2

Employment / Working Outside the States

« on: Dec 16, 2011, 11:34 pm »

Hi everybody-
It's kind of nice to get back onto SMNetwork after a hiatus for my senior capstone

So here's my question: I'll be graduating from my undergraduate program in the spring, and I'm not inclined to beeline directly to New York. I'd actually like to get some work in the UK or Canada if I could, and I was wondering if anybody had had any experience with that? I'm doing some research on dual-citizenship, but I know I won't be able to go on a student visa anymore, and I'm also not quite sure what their hiring schedule is like. I'd also like to get my equity card at some point, and I hear our point system in the states is mucho different from the point system in England especially.

Really I'm just trying to figure out how feasible this is going to be, and I'd appreciate any and all input.

Thanks!

3

Students and Novice Stage Managers / Re: Student SM Challenge #15: Her Method is Madness

« on: Dec 16, 2011, 11:28 pm »

I agree with what everyone's said about going to the director; I'm sure they're even aware at this point about the fact that this actress isn't getting her work done.

Would this be something you could bring up to the artistic director and producer? Or to bring to your production manager to bring to the artistic director and producer? The longer it takes this actress to get her work done, the longer they'll have to put off opening which is going to cost them money. Or, could you start fining the actress? I know that's more of an equity thing...

I also like the idea of setting aside time for her to work on her own with the director. I actually had an experience very similar to that working on R&J a couple years ago--our Romeo was really struggling with the text, so we would have him run lines in a separate room with me (the ASM at the time) while ensemble rehearsals were going on in the main rehearsal space.

This is EXACTLY why you shouldn't hire your friends for the sake of working with your friends...

4

College and Graduate Studies / Re: USITT Conference

« on: Nov 08, 2010, 08:19 pm »

This has been really helpful, thanks everyone!

5

College and Graduate Studies / Re: USITT Conference

« on: Nov 08, 2010, 02:25 pm »

Is the SM apprenticeship different from the student volunteers, then?

6

College and Graduate Studies / USITT Conference

« on: Nov 07, 2010, 10:19 am »

Every year, the tech majors go to the USITT (United States Institute for Theatre Technology) conference, and the powers that be are trying to decide if SM majors should go as well. I've heard nothing but great things about the conference, but only in strict regards technical theatre. I'm told that there are some great lectures, and there's always free stuff, but I was just wondering if there was anyone out there who had gone as a stage manager and found it beneficial. Money is tight right now, so I don't want to spend it to go if I won't get anything out of the experience.

Thoughts?

7

College and Graduate Studies / Re: Best schools for SM.

« on: Nov 07, 2010, 10:09 am »

For those looking for a BFA undergrad program, I'm currently in my third year as a BFA SM major at Millikin University in Decatur, IL. The theatre program itself is very small, but then again the campus is very small, so if you don't want to be just a number, I'd highly recommend it.

As a BFA student, I am required to take Directing I and II, two tiers of play analysis, a design studio in each of the design aspects (lighting, costumes, set design, and sound), as well as two levels of Music Theory and two dance classes.

Our junior year, we have to do an internship with the on-campus road house--one semester as an ASM, and one semester as an SM--so you get a feel for what it's like working in a roadhouse and how to handle yourself while working around big names (we just had Mike Super in a couple weeks ago, and OneRepublic came last year).

We are also required to ASM two mainstage shows, and SM two mainstage shows, although most of us try to do more, and we make personal goals like working with all of the directors, or doing one of each type of show before we graduate.

I won't sugarcoat it...the program is difficult. While the performance majors and design majors aren't working on mainstage shows until maybe their junior year, we can start as early as freshman (ASMing only). We are required to do all our own paperwork, including a tech calendar for tech week, as well as run weekly production meetings for the show. Nightly rehearsal reports, weekly production meeting reports, and performance reports are all required, on top of a potential 18-credit hour week.

That being said, I've found it very fulfilling! I worked at a chamber music festival the summer after my freshman year, and I didn't feel under-prepared at all. Plus we get to meet weekly and just talk about the profession. This week we're doing a resume workshop, last week we talked to one of the dance faculty about how to work a dance concert, and the week before that we just practiced taping out an elaborate groundplan.

...so now that I've basically told you my life story, I will reiterate that this is ultimately your decision! I love it here, but that doesn't mean that there aren't other good schools out there, you just really need to do your research