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Tools of the Trade / Re: Box Office Software
« on: Nov 06, 2007, 12:59 am »
I used Max Tix once and it was pretty simple--not a great way for dealing with subscriptions, though...
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The Hardline / Re: A dance gig vs. Equity
« on: Nov 06, 2007, 12:52 am »
You are correct that Equity has no jurisdiction over dance, so it doesn't matter who is producing it. It is as if another company entirely were involved, as far as Equity is concerned. They just want to make sure you aren't doing any non-union theatre work for the producer. Whatever else you do for the producers is between you and them.
I do a bunch of things at my theatre that are academic-related: supervise student SM's for undergraduate shows, help load-ins of road shows and the like. Equity doesn't mind. But if I were to call cues or run a tech or take blocking for a theatre piece, I'd be in violation, and AEA would be right to give me a swift kick in the boot for my stupidity.
Bottom line is, you're on safe ground (in my experience).
I do a bunch of things at my theatre that are academic-related: supervise student SM's for undergraduate shows, help load-ins of road shows and the like. Equity doesn't mind. But if I were to call cues or run a tech or take blocking for a theatre piece, I'd be in violation, and AEA would be right to give me a swift kick in the boot for my stupidity.
Bottom line is, you're on safe ground (in my experience).
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Employment / Re: full time or part time?
« on: Oct 25, 2007, 09:24 pm »
I, too, have been fortunate enough to work almost solely as a PSM since grad school; I don't know how that happened, but I count myself extremely lucky. Even when the production is less than exciting, or (like today) I am starting my third "Christmas Carol", there's something about working in a theatre with live actors to create a work for an audience that makes it the only thing worth doing. They'll carry me out of the theatre feet first. (and, given there are ten kids in this version of "Carol", it'll be sooner rather than later!)
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The Hardline / Re: AEA Teachers
« on: Oct 13, 2007, 08:51 pm »
As I work at in a university environment, what we theatre faculty and staff have to do is sign a waiver whenever we work on a non-AEA show for the school. The waiver is pretty boilerplate: "part of our educational responsibilities as faculty/staff"...Our business rep has been dealing with the school for years, and she knows we don't exploit AEA members.
Even though the waiver is on a case-by-case basis, Equity has never denied approval...
As far as teaching goes, the University determines when I teach, but they're careful to allow me an hour and a half between my class and my call for rehearsals.
Even though the waiver is on a case-by-case basis, Equity has never denied approval...
As far as teaching goes, the University determines when I teach, but they're careful to allow me an hour and a half between my class and my call for rehearsals.
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The Hardline / Re: Equity "half-hour"
« on: Oct 13, 2007, 08:41 pm »
I, too, like giving the half-hour call in person; it gives any actor a chance to talk to me personally (I hear the occasional complaint and also they get to dish to someone who won't pass it on). But once I've got eyes on everybody, it's up to the booth. The cast will usually appreciate the breathing room, and it's part of my ritual for getting my head in the game.
Great thread everybody, BTW...
Great thread everybody, BTW...
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Stage Management: Plays & Musicals / Re: theatre romance
« on: Jul 25, 2007, 06:15 pm »
It can be bad, but it worked for me, as my wife (actress) of twenty years will attest.
Although we didn't "date" until after the show closed, but we hung out a lot after rehearsals and performances. When we got married, I heard from many the cast of that show. Half were totally surprised, half said they knew all along.
In general, as long as you're careful not to show favoritism, you should be fine.
Although we didn't "date" until after the show closed, but we hung out a lot after rehearsals and performances. When we got married, I heard from many the cast of that show. Half were totally surprised, half said they knew all along.
In general, as long as you're careful not to show favoritism, you should be fine.
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The Hardline / Re: Equity "half-hour"
« on: Jul 23, 2007, 10:17 am »
I had forgotten about that etiquette document. It should be posted in Green Rooms across the country!
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Employment / Re: Too Old
« on: Jun 11, 2007, 08:54 am »
I was interviewing for the "team"; I explained to the production supervisor that I was okay with the idea of 1st ASM-ing, because the project was so exciting (even though the bulk of my experience was as PSM). I was setting myself up as someone who could both ASM and take on the responsibilities of PSM when it was required (calling the show, paperwork, dealing with a large cast and IA crew). They ended up hiring people under 30, one of whom was given their card for the show. Friends in stage management in that city later told me that the producers were very specific in wanting young kids for ASM's, and the PSM they hired was not much more experienced that her assistants.
I have no problem with producers granting (or paying off) favors to friends or people they've worked with before. I would just prefer they not advertise nationally for stage management staff if they're not willing to fairly consider everybody who shows up (have you ever seen those ads on the Equity web site advertising for stage managers, and when they respond to your submission they explain that they meant only local stage managers? Very frustrating...)
I have no problem with producers granting (or paying off) favors to friends or people they've worked with before. I would just prefer they not advertise nationally for stage management staff if they're not willing to fairly consider everybody who shows up (have you ever seen those ads on the Equity web site advertising for stage managers, and when they respond to your submission they explain that they meant only local stage managers? Very frustrating...)
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Employment / Re: Too Old
« on: Jun 10, 2007, 02:24 pm »
All this being said, the discrimination against us "older" SM's is very real and, I think a little pervasive.
As an example, about three years ago I interviewed for a sit-down out of town commercial run for a new and very popular musical. As an Equity stage manager with musical and road experience (and a tenuous connection to one of the original producers), I had hoped for maybe twenty minutes of their time to make my case. I was out just after the "hello". I later heard they were only condisering younger SM's--they even gave one of them their card.
So experience doesn't always count.
I'm not bitter; I landed a perfectly good Equity job that I like and am still with. Nevertheless, being dismissed out of hand because you're older, female, a person of color, whatever, is terrible. And it happens.
As an example, about three years ago I interviewed for a sit-down out of town commercial run for a new and very popular musical. As an Equity stage manager with musical and road experience (and a tenuous connection to one of the original producers), I had hoped for maybe twenty minutes of their time to make my case. I was out just after the "hello". I later heard they were only condisering younger SM's--they even gave one of them their card.
So experience doesn't always count.
I'm not bitter; I landed a perfectly good Equity job that I like and am still with. Nevertheless, being dismissed out of hand because you're older, female, a person of color, whatever, is terrible. And it happens.
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Students and Novice Stage Managers / Re: Trouble ASM
« on: Jun 10, 2007, 02:10 pm »
As much frustration as it causes me, there are times I'm glad I'm in an academic program that does NOT teach stage management as a concentration or major. We get student PA's who earn one credit hour, and very little is expected of them (sweeping and coffee). This means I am pleasantly surprised when they "go the extra mile", but it also means that the staff carpenters are often working crew (for generous overtime amounts) when shows are technically complicated.
The frustration comes, as always, in rehearsal, when the PA's don't know (or don't care) how to be pro-active and anticipate/solve problems. But now that I have lowered my expectations to nearly zero, things are going a lot better.
And when things do go wrong, that's when the zen Bhuddism lessons (and vallium) come in...
The frustration comes, as always, in rehearsal, when the PA's don't know (or don't care) how to be pro-active and anticipate/solve problems. But now that I have lowered my expectations to nearly zero, things are going a lot better.
And when things do go wrong, that's when the zen Bhuddism lessons (and vallium) come in...
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Stage Management: Plays & Musicals / Re: There may be trouble ahead....!
« on: Jun 02, 2007, 05:24 pm »
Echoing some other sentiments--
I was getting sick of freelancing about ten years ago, and made the decision that I would only take "one offs" if it furthered my career. It seemed like from then on my gigs lasted 2+ years. If they didn't get me closer to my dream job, at least they kept food in the pantry and the creditors from the door. (What that "dream job" was during all those years still eludes me, but that's another story) When I finally got the gig I have now (University position, LORT contracts, health and pension, etc.) the plusses so outweighed the minuses that whatever happens now, the future is clearer--and easier to achieve--than ever before.
Keeping your eyes on the prize, whether it's health insurance, a house of your own, a Broadway show, whatever--that's what'll make the job satisfying. Stage management is a wonderful career, but like all careers you should always remember than in some respects it is a means to an end. Doing it just to do it (or because you "love the theatah!") only gets you so far.
I hope that doesn't sound cynical...I've been doing this from 1977 (when I got my AEA card). My marriage has survived, our daughter thrives, I've had only two "temp jobs" in all that time. Take the break if you need to, Shoos, but identify your goals and strive to achieve them! The important thing is to be pragmatic! Not only will it get you further along, but it's one of the best traits a stage manager can have!
Thus endeth my rant...
I was getting sick of freelancing about ten years ago, and made the decision that I would only take "one offs" if it furthered my career. It seemed like from then on my gigs lasted 2+ years. If they didn't get me closer to my dream job, at least they kept food in the pantry and the creditors from the door. (What that "dream job" was during all those years still eludes me, but that's another story) When I finally got the gig I have now (University position, LORT contracts, health and pension, etc.) the plusses so outweighed the minuses that whatever happens now, the future is clearer--and easier to achieve--than ever before.
Keeping your eyes on the prize, whether it's health insurance, a house of your own, a Broadway show, whatever--that's what'll make the job satisfying. Stage management is a wonderful career, but like all careers you should always remember than in some respects it is a means to an end. Doing it just to do it (or because you "love the theatah!") only gets you so far.
I hope that doesn't sound cynical...I've been doing this from 1977 (when I got my AEA card). My marriage has survived, our daughter thrives, I've had only two "temp jobs" in all that time. Take the break if you need to, Shoos, but identify your goals and strive to achieve them! The important thing is to be pragmatic! Not only will it get you further along, but it's one of the best traits a stage manager can have!
Thus endeth my rant...
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The Hardline / Re: AEA Secret Ballot
« on: May 25, 2007, 10:43 am »
Under the LORT agreement, the waiver to combine straight sixes with full 8 hour days requires a 3/4 majority, the length of dinner break requires a 2/3 majority, and the archival video shoot requires only a simple majority, but I also have never had to do any math (thank God...)
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Employment / Re: Updating a Production mid-run
« on: May 25, 2007, 10:04 am »
Oh, yes, you have definitely gone beyond the job description (and the job description for stage manager--especially in non-Equity theatres--is pretty broad...)
You might ask your director to hire a freelance/hourly Master Electrician to do any equipment updating and help with programming and writing cues. Cheaper than hiring a designer, and probably more helpful.
What it really boils down to is--do you think this director is going to do other projects that you might be hired for, and would you really want to work with him again?
I don't think this is something worth quitting over (and you should NEVER quit in anger), but you ought to make it clear that you're out of your depth.
Believe me, I know where you're coming from. I did a long-running show in NYC (no names, please, I still get hives), where the General Manager was the lead performer. I was always doing little rapair jobs for costumes, electrics and set, and it was QUITE disfunctional...
Best of luck,
Joe Millett
You might ask your director to hire a freelance/hourly Master Electrician to do any equipment updating and help with programming and writing cues. Cheaper than hiring a designer, and probably more helpful.
What it really boils down to is--do you think this director is going to do other projects that you might be hired for, and would you really want to work with him again?
I don't think this is something worth quitting over (and you should NEVER quit in anger), but you ought to make it clear that you're out of your depth.
Believe me, I know where you're coming from. I did a long-running show in NYC (no names, please, I still get hives), where the General Manager was the lead performer. I was always doing little rapair jobs for costumes, electrics and set, and it was QUITE disfunctional...
Best of luck,
Joe Millett
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