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Messages - Maribeth

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1
Students and Novice Stage Managers / Re: Writing a new script
« on: Oct 20, 2018, 12:53 pm »
You can decrease the amount of space between lines, use a slightly smaller font, decrease your margins, or let it spill on the next page and call the next page "77A".

2
POINTLESS THEATRE seeks an enthusiastic and organized individual to join our staff as Production Manager for the 2018-2019 season. The Production Manager works with upper management to ensure timely scheduling and planning of the production process, proper budget development, and supervision of artists and technicians. The position is directly supervised by the Artistic Directors and Deputy Director.

Production Manager is responsible for working alongside the Director, Artistic Directors and Technical Director to hire, contract and supervise technicians, stage management, designers and performers for each production. A successful candidate is proactive, and leads with a positive and supportive attitude. Being able to anticipate needs, problem solve resourcefully, and prioritize time sensitive tasks are essential strengths in this role.

Dates for the 2018-2019 season:
Show #1: November/December Rehearsals, January/February Performances.
Show #2: April/May Rehearsals, June Performances.

This position is paid hourly.

Pointless Theatre strongly values equity and challenges historical inequity with a persistent focus on dismantling systemic racism. We work towards a more just society and as such we are an equal opportunity employer and do not discriminate against any employee or applicant for employment because of race, color, religion, national origin, gender identity, age, marital status, personal appearance, sexual orientation, family responsibilities, matriculation, political affiliation, or physical handicap.

PLEASE SEND RESUME TO patti@pointlesstheatre.com AND david.olson@gmail.com

POINTLESSTHEATRE.COM

3
The Hardline / Re: Joining AEA!
« on: Oct 09, 2018, 09:10 pm »
Congrats! I think the number one thing I didn't know is that when you have a question, it's totally okay to call your AEA rep! They are there to help. A lot of AEA questions that come up are situation-dependent, so you can't necessarily get a clear answer by asking someone else. Sometimes a particular theatre will get a special concession from Equity about a particular rule, so something that's okay at one theatre or on one contract might not be okay at another (or vice versa).  I've never had a rep mind me calling and asking, and it's usually the quickest way to get a question answered. If you don't know who your rep is, ask your production manager (or whoever handles AEA contracts at your theatre).

I also think it's really helpful to print out a hard copy of the rulebook for whatever contract you're working on and put post-it flags on any rules that you might want to reference quickly. For me it's usually things like the rules regarding rehearsal and performance hours, how many hours of fittings are allowed, etc. So much easier to reference them quickly. (Though the search function on a pdf is helpful too!)

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Hi Paul,
There's no right or wrong way to do it, but something I've done in the past for stages that don't have a traditional 'upstage' and 'downstage' is to assign each wall of the theater a direction - 'north south east and west'. That way you can note that an actor crosses north, or exits southwest. You can also use positions on a clock, or assign specific walls to be upstage and downstage (though that can be unhelpful, if you're trying to play to both sides of the house, if you think of one of them as 'downstage'.

Whatever method you choose, it's useful to put a note in the rehearsal report at the beginning of the process to let other people know which wall you're referring to as 'north'.

EDIT: And it's important to put signs on the wall in the rehearsal room, so that actors know which way to go when the director says "Exit through the South door" or something similar.

6
Welcome aboard, Dani! Glad to have you and your students on the forum.

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Doing single-sided uses less paper, but doesn't leave much room for actors to make notes for themselves. Double-sided is more environmentally-friendly, but if you have script changes it's harder to do replacement pages.

I tend to think single-sided is better, especially with a play where you're going to have a lot of script changes. If I'm printing extra copies to have in the rehearsal room or backstage, I do those double-sided.


8
Introductions / Re: A Step Toward the Future :)
« on: Aug 13, 2018, 09:59 am »
Hi and welcome, Brooke! Sounds like you have a lot plans. Very exciting! We'd love to hear about your experiences. What has been your favorite production that you've worked on so far?

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Employment / Re: Post-Grad Options/Jobs- help
« on: Jul 11, 2018, 01:03 pm »
Do you have a certain geographic area that you're interested in working? If so, I would start researching theatres in that area and see where you'd like to work. Polish up your resume and cover letter, and have someone (like a friend or professor) look them over. Some theatres will list on their website what email address you should send resumes to- if they don't you can always try the production manager. Tailor your cover letter to the theatre you're sending it to! If you're applying to different genres (like dance or opera) it can be helpful to tailor your resume as well, to highlight relevant experience.

You can look up job postings - there's a thread here that lists a number of job posting websites. If you are planning on working in the same area that you studied, your professors may be able to get you introductions to folks hiring in that area. If you have connections from your internship, use them! Ask them if they are hiring, or if they would be a reference for you. It really helps to have a connection when you're applying to a new theatre- people will consider your resume more carefully.

Are you interested in ASM positions or SM positions? (Or both?) Are you looking for one full-time position all year, or are you willing to freelance?

Once you turn Equity, you'll be competing with all of the other Equity members in your area for those positions, so it helps to build up some non-AEA experience on your resume for a few years. Then, when you're ready to turn, you'll have the experience to get hired in those positions. Once you have started working, I think you'll get a better sense of how much experience you need before turning.

Re: finances. There's no one right answer for this. I would research the cost of living in whatever area you plan to work, and make a budget from there. If you live at home for a while after graduation, you might be able to afford to take some lower-paying positions while you build up your experience. If you are paying for housing, utilities, etc, you might need to look for higher-paying work, and/or supplement with a day job or other freelance work, like electrics calls. It's hard to budget as a freelancer - I found it helpful to create a spreadsheet with all of the work I had scheduled for the year and how much each job paid. Then I could see which months were going to be light and look for filler work, tighten my budget, and save up so that I had savings to tide me over.

Hope this helps!

10
Introductions / Re: When Life Gives You Lemons
« on: Jul 04, 2018, 09:09 pm »
Welcome aboard! Looking forward to your contributions to the forum.

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Introductions / Re: Hi
« on: Jun 30, 2018, 09:40 pm »
Welcome aboard! Sounds like you have your hands full! We'd love to hear about your experiences.

12
Introductions / Re: Greetings from Kentucky!
« on: Jun 30, 2018, 09:39 pm »
Welcome! Sounds like an exciting project. :)

13
Introductions / Re: Livin' la Vida Loca
« on: Apr 30, 2018, 11:49 pm »
Hi and welcome, Bruce! Congrats on your AEA contract.

14
I don't think it's appropriate to have someone who's vomiting come in to run their track. No one benefits from having someone who is that sick come in. It would be different if you just had a cold. This is not the same thing. If I was in your position, I would have escalated matters to the production or company manager.

When I was younger, I worked through extreme illness a few times, and it honestly wasn't worth it. You know yourself, and you have to make a judgment call about if you're well enough to come in. Your health is more important, and in this case, it's the company's responsibility to figure out how to cover your track. As previously mentioned, no one should be "irreplaceable". It is smart to give as much notice as possible so that the company has as much lead time as possible to find a cover.

If you have a family emergency, you should talk with the person who hired you to work out a leave if needed. That situation is so dependent on the circumstances that it's hard to say exactly what should happen. But as the SM, if I had a crew person who had either a family or health emergency, I would work with the PM to come up with a backup plan.

As for coming in for an early call where there's not a lot to do, sometimes that's just the way it goes. I would try and find a way to make use of the time. Clean up your paperwork, make glo-dots for tech, prep prop tables, offer to be a light walker, etc. Bring a book or knitting if needed. No one likes to feel like their time is being wasted, so it's understandable to feel frustrated by it. If it's worth it to you to have a conversation with the production manager, you could. But my inclination would be to accept that sometimes there's some sitting around involved in the job. During tech, I sometimes come in early to sit in the room while other people are prepping for tech- it lets me see what is going on in the space, be available for questions, and do my own prep work.

15
I think it might mean that not a lot of SMs on this board take time off and come back to stage management....much more likely that folks slide into related careers like production management that have more family-friendly hours.

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