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Messages - DAE

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The Hardline / Re: Equity "half-hour"
« on: Jul 22, 2007, 04:22 pm »
From Equity Paperwork:

"Half-hour is a misnomer, the stage manager may set ANY reasonable call time for any actor in any show"

However, what the form does not remind us of, is that equity considers a show call to be 3.5 hours (half-hour inclusive) and anything over that is overtime. So, make sure to check your running times before you set a longer call.

Also, check your contracts for different rules about half-hour. In SPT, your are NOT allowed to give any actor notes (that are non-emergency) after the half-hour. That rule however, does not appear in the LORT book (or any other book that I have worked under for that matter).

In case you would like a hard copy of the form with the original quote (can't upload because of size), go to the AEA website and find "actor etiquette" somewhere in the document library, or PM me and I will e-mail it to you. I have actually began posting the 2 page form on my callboards because is it well-written, humorous, and easy to understand (unlike many of the things we get from equity...).

Have Fun!
- Dan

Stage Management: Other / Re: Sming for Dance
« on: Sep 04, 2006, 01:45 pm »

Sounds like you might have some time.
Like every proffessional dance company, yours probably tapes everything and if you can get permission from your company to borrow a tape, I would bring it and let the students call the show off the TV. Talk about what you look for, dance terms, the importance of timing, why you do your cues a certain way (whether it's score, cue sheets, dance sheets, or whatever...).

Something I did in college (many moons ago) and found very helpful.

My two cents,
Have Fun!

Hi Everyone,

I have been reading this topic (and the similar one) for some time now and am starting to worry that I am in the minority of stage managers. What I mean is...

I have been stage managing for awhile, I like to think I'm pretty good at it, I'm AEA and haven't been out of work since I left college. I have done theatre, opera, dance, and corporates. But I am a stage manager from the time I enter the the theatre to the time I leave (that isn't to say I don't work at home, like we all have to, it's a metaphorical statement). I have never had trouble with directions, lingo, or procedure in the real world vs. the theatre, and I make it a point not to "stage manage" anything I don't need to.

Stage Management gives you many valuable skills, I just never really use them outside the theatre. In a theatre, I can bulid and repair scenery, at home I can barely put my new DVD shelf together. At Work I can hem pants in an emergency, at home I've discolored more then one t-shirt in the laundry. I can work with and track complicated budgets really well, I'm not even sure where my home check book is. And I'm really ok with all this.

We have a hard, sometimes frustrating and nerve-racking job. Though it can be amazingly rewarding, I don't need constant reminders of it, the 3-4 resumes a week I send out usually are enough to do that. The SMNetwork and the trade magazines is about as work related on my off time as I get.

But that's just me, anybody else?

The Hardline / Re: Equity Deputy's identity
« on: Jul 31, 2006, 04:41 pm »
That's very interesting, because I was thinking about posting this topic before.

I have had this same discussion many times. The theatre where I interned (LORT B) no one knew except the equity company, and I have always done it that way. When I reached a theatre where the director said he always knew, I called equity NY and was told by the agents of that particular theatre that management and directors have no business knowing who the deputy is since the deputy is never to confront managment and is to call the union if that stage manager cannot deal with a problem.

I have however spoken with many different stage managers about this and got various answers. I can make good cases for both arguments, and I believe if a situation ever became serious enough it would be almost impossible to keep the identity secret. It seems to vary from theatre to theatre...

I would love to hear what others do.

Tools of the Trade / The comfort of a featherweight headset
« on: Apr 28, 2006, 06:05 pm »

I personally carry around a Clear-Com CC-26 Headset wherever I go. Most of the systems I use are Clear Com, so it always works well. (Though, thanks to adapters, you can hook up just about anything). It is a great unit and very light.

My complaints are, The gooseneck mic can be a bit fragile. I had too send mine back once because it broke. Also, the price has gone up pretty high lately. I originally bought it at $119, nowadays it is almost $175. Great quality sound though.

Check ebay, they have good deals.

Good Luck.

Stage Management: Plays & Musicals / a musical
« on: Mar 22, 2006, 02:57 pm »

One piece of advice I have not seen posted that I feel is very important is HAVE FUN!!!

Yes, Musicals are more complicated, difficult, and streesful, but they are also some of the most rewarding projects I've done in my career.

Good Luck and Enjoy Yourself!


Tools of the Trade / Condom reference??
« on: Mar 14, 2006, 08:43 pm »

There is a sound company that actually sells cheap condom-like sheaths in bulk. They are MUCH cheaper then going to buy unlubricated condoms because they come in a large package and are not individual sealed.

There is a big disclaimer on them saying that they are not safe to use like actual condoms.

I can't remember the name of the company, but you can find them online.

Have Fun.

Stage Management: Plays & Musicals / Gender and Age Issues
« on: Feb 27, 2006, 07:03 pm »
This is an interesting issue.

As a man, in my experience, it is a little easier for us then it is for women. Sorry Ladies, I honestly wish the situation was different.

As far as a man's perspective, the first time I was the PSM for a LORT theatre I was 22 years old and from out of town. Both my ASM's and half my crew were older then I was. Because I am a big guy with a beard, I easily lied. The only person who knew my true age was the managing director (because he had my tax forms). It was just easier this way.

This is not the best solution, but I have had trouble with people who knew my true age. So until people understand that it is not an age thing but whether you can do the work or not, I will probably keep lying. (at least for a few more years)

Best of luck to everyone. And may the quality of your work (as opposed to your age) bring you the respect you deserve.

Hi All,

I tend to agree with Matthew on this. However, I also tend to change the way I do things depending on the crew I have. When I am with an IA crew, I usually never ask for confirmations. If I am with a student crew, I do ask for confirmations, but even then I usually only ask for Deck and Rail. The difference is that with the IA you have people responsible to do a certain job where with a non-union or student crew they might be doing several (i.e. going to the rail for a cue then back to the deck) so it is important to check in with them. If it is a really green crew, I ask for confirmations from everyone. As a freelancer, I tend to adjust more to my space then ask them to adjust to me - as long as things are working.

That aside, I personally believe that is is very important for a good stage manager to pick their battles. If you have a crew member who is on the internet while running the light board and has never missed a cue, is that really a battle you need to fight? It is definetly not the ideal situation, but you might gain more resentment then results.

However, If they are missing cues or are late on things, then I would talk with them about it.

My Two Cents...

Stage Management: Plays & Musicals / Scripts on cardstock?
« on: Oct 09, 2005, 01:12 pm »

I have never used card stock, but I do use a 24lb weight paper for all my scripts. (as opposed to the standard 20lb). It is a slightly thicker paper that I feel works really well without adding to much weight to the book.

Have Fun

SMNetwork Archives / PC vs MAC
« on: Jul 31, 2005, 07:29 pm »

 I had been a die hard PC user for as long as I can remember. Even though though my home computer is a PC, I recently switched to a Mac laptop for my work use. I have to say it is great. I got a 12" Powerbook. I was drawn to this machine because of the size and battery life. It is light and easy to carry. During my last rehearsal process, I kept it on my desk for the entire rehearsal and never had to plug it in. (Granted, it was SPT rehearsal hours, probably wouldn't be able to do that on a LORT) After doing my research, I couldn't find a PC unit with that kind of life and size.

Some Warnings Though: ALL my software was in PC because of my past, so it took some money besides the actual machine to make it practical for me. Also, Apple brags about being able to easily interface with PC networks, though usually correct, I have run into some problems with my personal network and some of the theatre's I've worked at. Especially with printer drivers, since mac's do drivers on a network a little differently then PC's.

But at the end of the day, I am thrilled with my little mac. It is a great choice.

It is down to needs/preference. Get what you are comfortable with.
I completley agree that most regional theatre's have PC setups. That is important to consider, however with Office 2004's new compatiability features, I have yet to run into a problem transferring files.  

My two cents...

Have Fun.

SMNetwork Archives / Software that needs to exist!
« on: May 19, 2005, 03:17 am »

That would be intersting. However, I think that the trouble would be not in the programming since these are rather simple commands in relation to what computers do now. I think that the reason that this doesn't exist is because of the incredible trouble of creating a database of scripts that wouldn't violate copyright laws. The trick would be if some crafty person could arrange a deal with publishers to purchase a certain digital license for scripts.

My two Cents...

Stage Management: Plays & Musicals / Backstage or Booth?
« on: Apr 11, 2005, 12:38 am »

I think the preference of booth vs. backstage is greatly based on what you are brought up with. I prefer calling from the booth because early in my career and in college that was always the setup. It is just more comfortable for me.

Now, however, preference gives way to neccessity. When I call dance, I have to be backstage, mostly because dance companies rarely have ASM's and it is just you, the IA, and the dancers and you have to be backstage.

We do what we have to do, but if we are ever given a choice, I say go with what you are most comfortable with.  

My Two Cents,
Have Fun!


For me it depends on the situation. I usually do just standby, Go for lights and sound. (espically when sound is run of SFX). I call warn, standby, go for Rail cues and Deck Cues. Things like these can be dangerous, and the more warning you give to a crew, the better off you are.

Just my two cents.

Have Fun


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