Messages

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Stage Management: Plays & Musicals / Re: WORK/LIFE BALANCE: Taking time off

« on: Apr 17, 2018, 12:24 am »

How fascinating that this thread has several interested posters, and no one has responded with any tips! (Does this mean that SM's tend not to take time off? Hmmm...)

I'm also interested in this. Unfortunately, several of the companies I've had long relationships with have had quite a bit of turnover as well this year, so that hasn't helped very much in terms of network and contacts. Also, problematically, I'd like to take time off for almost a year for an full-time opportunity in another field. I'd love to come back, but there is a serious fear of being "forgotten".

To keep my skills sharp, I'm considering: 1-2 week jobs, jobs in related fields (corporate). Realistically though, these taking on short jobs may be limited because starting fresh at a full-time job another industry can be very time-consuming.

I'm hopeful that when you're ready to come back, you can email folks in your network to let them know and see if they know of any opportunities? My other huge fear is that once I leave, I won't ever come back, will drift ever more slowly away from the industry, and my skills will get more rusty. In part, I feel like those fears are just a hump I need to make it over. It's also scary because how do you keep your resume fresh?

For the past couple of years, I've been limiting the number of freelance jobs I do a year and sometimes I've had to not return to companies for a year or so as I rotate. This has worked well in terms of establishing better work/life balance, but not so well in terms of getting a steady paycheck. If you can solve that problem, it's great. Also, it's hard to remember how a company operates if you only come back every 2-3 years and it can be uncomfortably like starting over - so there might need to be something more than just skill that keeps you in their graces to return. Some companies seem to be more tolerant of this than others. If you do get back in, you may want to start with companies that know you enough that gaps in your resume may not be very important to them.

One important thing for me will be leaving every door open and every relationship in a state that I can reach out to later if the time is right.

2

Employment / Re: Professional SM for a Community Theatre?

« on: Oct 11, 2013, 11:42 pm »

1) Introducing "professionalism" - It depends on how you are defining "professional", nwb001.  There is some truth to what PSMKay says, especially if you are equating "professional" to having a larger budget.  Most organizations (not only the arts ones) have a particular culture and before you are employed, it is important for you to get a sense of whether that culture is one that you will enjoy.

In terms of creating change, it is very possible if there is a willingness of others.  Most organizational change requires you to socialize an idea and get buy-in from your participants.  That's why it's harder to change big companies - there are more people who need to buy in.  If you are defining professional as higher quality for the same pay, you need to get people to share a common vision of what that looks like - and that leadership usually comes from the top, or from someone who is very influential (and either is committed to staying or has already been there for a while).  It is almost impossible to create change as a new person to the organization.  You need to earn their trust and understand the politics of any organization you join.

That's not to say you can't create small change that can have ripple effects - but just take it a step at a time with the things you can control.  If you do want to create change, I would start with some small but meaningful things that express your standards - perhaps making sure that everyone is there on-time for every rehearsal or simply making your own behavior more professional to lead by example.  If you're hoping that they'll hire different staff or designers though, that sort of change takes years of commitment.  In any case, complete revolution may be unlikely.

2) the struggle and crusade - it's up to you to determine if it's worth it to you.  This whole business is a struggle (which is something I've been thinking a lot about).  to me, changing an organization is not worth a crusade.  training new behavior is worth it.  for my particular situation, this lifestyle is worth it right now (but it may not be in a few years).  this is one of the few professions where your own values are routinely challenged (every time you choose to take a new job).

3) contract negotiation - as *anyone* who is negotiating on their own behalf (i.e., anyone who does not have an agent and is not part of a union), you have the right to ask for anything you want.  it doesn't mean you'll get it, but you can always ask.  there may already be some precedent, but if you never ask, you'll never get it and at least it opens up a conversation that might suit your needs.  (recognize also that being paid for the actual time you spend working is unusual in the theater, *especially* community theater).

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Stage Management: Plays & Musicals / Re: JOB DESCRIPTION: Transitioning from opera to theatre

« on: Sep 30, 2013, 11:30 am »

Thanks all, for your responses.  I kept meaning to come back and post some "learnings" for anyone else in the same boat.  I wrote up a post and then my computer crashed or something and I lost it and then never got the time again to go back.

Anyway, it was very helpful.  I was an ASM on the show.  I did write timings in about every two minutes.  We had clowns who were very good at improvising, so the timings would frequently change because they altered their delivery depending on the audience.  I found it more useful to know I had to track a prop after a certain number had started.  We didn't create very much paperwork in the end (at least compared to opera) - hardly anything, really.  The SM wasn't very into creating paperwork - but things went on just fine.  I had a props preset list and a bunch of things to check.  In the script I kept notes written directly on the page of what needed to happen when.  I found that the execution didn't need to be as precise as with opera, so I didn't often need to change cues or move them between pages.

It was a ton of fun actually, but I don't love it as much as opera.

re: rubber chicken.  I am back in opera and the first day of the show I am working on now, I saw a rubber chicken on the SM's desk...

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The Green Room / Re: SMNetwork fundraising drive 2013

« on: Mar 02, 2013, 03:51 pm »

Donated.  Thank you for creating such a fabulous resource and reminding us that what it takes to keep it going!

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The Green Room / Re: ARTICLE: NY TIMES saying no to college

« on: Dec 07, 2012, 04:17 am »

I'm not an advocate advanced degrees just for the sake of having degrees.  That being said, I am very happy with my undergraduate degree.  It affords me the flexibility to move around, whether or not my current choices work out, as well as the option to pursue other or more specialized education if I ever feel that way.  When I chose to switch careers (into theater!), I felt I could at least fall back on my education since I really had no other related work-experience.

I think reality is more complicated than the hi-tech entrepreneurial mythos that is featured in the article leads us to believe.  Education's not right for all people, but it provides a great deal for many.  In general, I think college works the best for the ones that need a little more time "finding" themselves.  For those who fortuitously stumble upon their passion at a young age, education can be a hindrance.  I think the important thing is to be engaged and committed to the alternative, if there is one.

More than the content of my degree(s), college taught me to think from a number of different perspectives.  Ironically, the courses I'm the most grateful for are the ones that I thought were the most obscure and utterly useless when I was taking them.  At the time, I resisted reading Plato, Aristotle, Socrates, Marx, or Nietszche - but the more I look around in the world, I realize that practical knowledge of history and a sense of where modern thought came from, the humanities, and the arts are lost in our new-fangled, technologically advanced world.  These are texts I may never leisurely return to, so I am very glad that they were rammed down my throat and get some thoughtful analysis of them during the few years that I was willing to have them.  As I get older, I realize how important the humanities are for compassionate, empathetic thinking - and it's also the same qualities that make us identify with stories and performers onstage.  Don't so many stories resonate with The Odyssey?  Or provide another take on Romeo and Juliet?  Reference Dante's Hell?  This is what the theatrical arts are built on - so I don't think that was wasted time at all.  Especially since I read these works in my required classes, not in the specific fields I chose to study (which I will say were retrospectively LESS useful).

I also got to travel to many different countries, learn a few foreign languages, meet different kinds of people...  very interesting people.  Educational environments are often curated to expose you to a diverse group of people that as a specialized adult I have less exposure to - and I learned a great deal of respect for different viewpoints.  (I'll also observe that the examples that the article points out as having found success by dropping out both also: a) were driven to what they were going to do as an alternative (i.e., they had a choice and the chose the one they deemed better for them), b) have reputations for being rather singular in their mindset, relentless in a way (i.e., you might not necessarily want to be friends with them).  That's definitely not most of the people I know.)

Anyway, that's the value I got out of my college education.  I also spent a lot of time after that actively learning on the job, but I really appreciate that fundamental education, debt and all!

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Stage Management: Plays & Musicals / JOB DESCRIPTION: Transitioning from opera to theatre

« on: Dec 05, 2012, 04:24 am »

Oops - so, I've gone done my life the wrong way by getting into opera before anything else.  But now I have a lovely opportunity to work on a non-opera!  I'm learning new stuff every single day... like what a mic pack is (I hate to admit that whole condom-and-socks-for-a-sweaty-actor thread went totally over my head).  And there are some really weird things - like this whole script business.  It's an original work and we write entrances and exits into the script directly as we go, so we don't add it by hand, whereas in an opera I would write all my entrances into the score.  Usually I also put tons of post-its and stickers in my score - but in a script, it just doesn't feel very linear and things seem very squished together.  Plus, how do you know how long anything takes?  I find it hard to resist the desire to write in timing marks throughout the script (I think I may do that anyway).  And the rubber chicken?  I don't think I will ever work an opera that will use a rubber chicken...  If you don't keep a WWW, what paperwork do you do?  There are an awful lot of rehearsals, and an awful lot of shows - how do you keep up your stamina?  Do you ever do any cuing for the cast/chorus?  Sometimes there's silence/dialogue onstage - how loud can one be during that?

I imagine some things are new because I'm new to the world of theater, some things are new because every show is different, every SM team is different, and some things are new because it's not opera - and it can be difficult to figure out which is which.  There are several threads about what one needs to know going into opera from straight plays and musicals, but I am wondering if anyone has advice for doing it the other way around: a) has anyone else found themselves in this boat?  b) what are the basic essential things that a new-comer should expect when working on straight plays/musicals that are different from opera?

Edit to subject and added topic tag. -Maribeth

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Employment / Re: More on juggling: guilt and rejection

« on: Dec 03, 2012, 01:50 am »

So this is what happened:  I did receive an offer from the original company (Company A).  I was thrilled about it but nonetheless, I did not accept Company A's offer on the spot.  Some people might have agreed right then and there, and then behind-the-scenes just tied up any loose ends without mentioning a word about all this other stuff going on.  However, I have a weakness for transparency.  I wanted to be upfront and ask for some time to decide since I was already engaged with Company B, wanted to be respectful and considerate, and I would LOVE to work with them in the future.  While Company A was surprised about the turn of events, they ultimately were very understanding.  Ultimately I withdrew my candidacy before Company B made an offer at all.  Well, actually, when I told Company B, they opined that it was an opportunity not to be missed.  So that made it easy, and I was super impressed by how understanding everyone was on both sides.

There were rocky moments, but I have definitely learned something here.  (So thanks, SMNetwork!)  If I were to do it over, I would have done what Matthew recommended - a brief email *before the offer is made* that I'm still keeping my options open - so that at least they have a heads up.  It makes SO much sense now that I think about it.

With regard to Company B, the trickiest part for me was actually communicating that decision.  This one was a little easier, and I am hoping that gets better over time.  It still feels so "final" to me...  (Maybe that's what PSMKay means by not liking "closure"...)  I do wish I had communicated via phone instead of email, but I knew things were busy on their end too and had some time pressure.

I think/hope Rebbe's comment just about sums up this little episode:

Early in my career I worried that turning down offers would have negative ramifications, but it always turned out that I’d been stressed out for no reason; other opportunities with those companies eventually came back around.

I am still waiting to see, but hoping that next season will fall in line.  It's so good to know that others have been there and understand the pressure of looming uncertainty in this line of work.

8

Employment / Re: What (not?) to wear

« on: Dec 02, 2012, 03:05 am »

Ooooh, I love "what not to wear".  I spent the first part of my career in sneakers and jeans, and being treated like a kid just out of school (which I was).  It was also how I could fit into an environment dominated by rather sloppy engineers.

But after a decade of that, I started dressing up.  It's way more fun.  I wear skirts/dresses 40-60%, depending on the weather.  SMAshlee, if you wear them with leggings, it's almost like wearing pants - even if you need to get down and dirty. 

I'll also wear slight heels (but sturdy ones and closed toe, often boots) so I can climb a ladder or jump from a 3 foot height.  It's weird, but I think dressing well does give you a little more cred.  Also I noticed I liked when SM's dressed up for shows, even in all black.  It just feels more expression-full.

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Stage Management: Plays & Musicals / Re: MUSIC: How much should I be able to read?

« on: Nov 27, 2012, 05:09 am »

I work almost exclusively in opera and what I really wish I could do better is *sing*.  I can't carry a tune very well (somewhat tone deaf actually), but I've worked with Stage Managers who have sung, and it is rather awesome to see them keep the chorus on track by singing the chorus' part with them.  Especially for smaller companies, it's a very useful to be able to communicate and connect that way because you're more involved with all facets of the production.  Also, I am a rather decent sight-reader in terms of instruments.  BUT it would be much more useful if that instrument were my voice.  I can translate notes to a keyboard easily, but I can't look at a line and just know what it sounds like.  I wish I could.  THAT would be my SM super power.  To me, that's also the mark of a real musician.

Knowing the music also helps.  Often the SD, MD, or a singer (who doesn't have the score in front of them) will say something like, "let's go from [insert musical cue - e.g., "the second da da dum da da" or "the run up to the high c"]" instead of a place in the score.  And if I'm the least musical in rehearsals (usually the case in opera, where *everyone* is a musician and has done the piece a dozen times), I'm the last to find the place we're starting from.  Let me say, that is just not thrilling.

You certainly don't need to be a full-fledged musician, but don't rely on counting (although it is useful in a pinch - I have definitely counted my way through some passages before - especially fast passages or new works that usually don't have a good recording to accompany them).  Learn to read a melody, spot themes and landmarks, and musical terminology.  I've also had to "conduct" storm effects (read: rolling thunder, thunder percussions, wind, and lightning) - and for that it was important that I could follow the music and dynamic marks so that my 5-person storm didn't overpower the 8-person orchestra and so the thunder came in during the thunder section and on the right notes.  I guess it was similar to conducting a banda of storm instruments which might be unusual for an SM to do, but it was really fun.  If you know how to read music, you might be asked to do more interesting things.

The amount you need to read also depends on the piece itself.  If it's in English or a language that you read, it's going to be easy to follow if there's a lot of singing (but know that, ultimately, you *should* be following the maestro).

For me, it boils down to:  You need to put timings in your score anyway.  So you need to know enough to at least do that...

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Tools of the Trade / Re: Arc Customizable Notebooks

« on: Nov 16, 2012, 12:51 pm »

Maybe I don't understand (but I've never needed spiral-binding).  Cool-factor aside, does this have much more utility than a regular three-ring binder and using a normal (and cheaper) hole punch to customize your organization?

I'm kind of loving my new mini-3-ring DIY binder/organizer at the moment...  Super durable, flexible, wide range of accessories.  I keep a pencil, pen, highlighter, reinforcements, divider flags, and post-its in a binder pocket.  I still use card stock (index cards) for dividers...  I can move around pages at will and purchase pre-templated pages or make my own.  I can purchase a day timer (or knock off) agenda or print my own pages...  Lays flat, hard writing surface.

How much better is an Arc?  It seems like it would take longer to assemble an Arc, although perhaps it is more fun pushing the pages into place than opening binder rings...

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Stage Management: Other / Re: Tosca Recording

« on: Oct 26, 2012, 05:01 am »

I just realized you are doing Tosca with a soprano whom I so adore...   Have fun in Alaska!

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Self-Promotion / Re: Taught my first class today

« on: Oct 25, 2012, 07:26 pm »

Hi Scott!  Hope this isn't too late to be useful, was just scrolling through older posts...

It's so awesome that you're getting a chance to share all the knowledge you have!  You said you don't like lecturing so I had some ideas on this topic that I've seen work (though they might depend on the time you have).  Pretty much all the training I've seen has involved knowing your own type of personality (that's half the battle)!

- situational role-playing.  I liked it better when there was only one example to watch (as opposed to splitting the class into pairs) because we spent some time afterward talking about it and it made principles much more concrete.  I've seen this done with both students as both people AND also with the facilitator as one of the people (great when it's about working with "difficult" personalities).

- self-evaluation quiz: half of learning to work with others is understanding how you work, so people get a better understanding of themselves, and a framework for understanding others' personality types.  Discussion about people's relationships with their own type, and about getting to know the various types.

- exercises: done after everyone in the class knows their "type".  Class is split into teams with type distribution and have a certain amount of time to accomplish a creative task.  Discussion about specific interactions with different types of people, knowing the other person's type might explain some of the conflicts that arose, etc.

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Tools of the Trade / Re: How to best use Dropbox?

« on: Oct 22, 2012, 04:17 pm »

Actually, Google Docs does a lot of the things Dropbox does (keeps a history, reversion, sends email notifications, mobile access) - I don't know if they have RSS alerts though.  I haven't found that any of my links have broken with the GDrive transition.  I prefer it for regular team collaboration and content creation, whereas Dropbox is solid for single-authorship file-sharing.

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Students and Novice Stage Managers / Re: Cover letter tailored for gaining experience?

« on: Oct 22, 2012, 05:26 am »

I should add: When I first made that call, I wasn't interested in stage management as a profession.  At all.  I really JUST wanted to learn and have fun.  It never crossed my mind to ask about employment or pay.  I'm not sure how/if it would have changed the conversation if I had.  Even after they hired me to work a show, I still wasn't considering leaving my day job.  It wasn't until I got referrals that I saw the possibility of a career.  So maybe it was quite a different situation.

In life, I have not been very successful going after what I want... when I have, it turns out not to have been the thing I wanted after all.  But when I'm not looking, the right thing usually appears right under my nose - and works out great!  To some extent, I think the business is like this.  "We must be willing to let go of the life we planned so as to have the life that is waiting for us."

For a long time my actual experience (or lack thereof) has been a disadvantage for me and not reflective of my skill set - so I don't flaunt my résumé if I can help it.  Like you, I am often competing with people who have ten times more experience than I do.  I'm proud of my résumé, but my list of shows is still less than half a page (and it was far less back then)!  So I play to my strengths and stress the quality of talent I've worked with or giving them a taste of my skills by showing instead of telling (i.e., if you tell me you're detail-oriented, there had better not be any typos in your résumé; if you say you say you're proficient at Word, you'd better use some fancy formatting tricks).

I think cold calling/emailing benefits people who are good salespeople.  That's not me.  (Maybe that's you?)  If that's not you either, another option is to go the informal route and take advantage of being new: "Hey, I just moved here and I'd like to introduce myself..."  I might try something like that.  But then, I'd probably try a whole bunch of things to see what sticks...  Another thought: instead of assuming something about their structure (which invariably are different), perhaps try just asking them just what you've asked me.  It's not the same as having done the research, but it puts the ball in their court to respond, and you'll have learned more about what their situation is if they do.  Just make sure you don't ask about something that you could easily find on their website.

Report back on what you find and how it goes!  Good luck!

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Students and Novice Stage Managers / Re: Cover letter tailored for gaining experience?

« on: Oct 18, 2012, 04:57 am »

Yes, I've felt that way, too.  Starting from scratch is tough.  I've learned that this is a job that takes serious cajones.

I'm afraid I have little advice about cold letters because I don't do them!  (Or at least, not with success... )

I did get my start through a cold call though...  I called a company that needed volunteers.  (Yes, I was that person who was willing to do anything that doesn't require a high level of skill and be unpaid!)  I thought I would be stuffing envelopes.  As luck would have it, the ED was handling volunteers - and she *asked* me what I wanted to do!  Since I was working full-time elsewhere, I could afford to gain stage experience that way - I did that for a season and learned a lot.  And they treated me well (because I was a volunteer, not an intern!).  They also gave me my first paid gig.  So I got really lucky about that too.  I wouldn't be able to afford to do it that way now, or if I hadn't also been working.

Everyone has a different path though.  What works for me is seeing possibilities despite constraints (it's one of my special skills ).  I've often created my own job description.  So when she asked...  but it doesn't work for everyone and you really need to keep the needs of the company in mind.

The companies I've worked with have all been structured differently, but mostly it seems to depend on budget.  I also think it might be different if you're planning to freelance or be a resident.  I have limited knowledge of resident theaters, but there might be a thread or two that addresses that...  I would guess that companies would be more willing to train residents than freelancers...  but I hear the pay is not as good?