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Topics - RuthNY

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61
SMNetwork Archives / True to Life SM Anecdote
« on: Dec 12, 2006, 07:50 pm »
I told this story to someone today and then realized I had never posted it here. 

So, for no earthly reason other than I thought other SM's would appreciate it, here's a short, true to life SM anecdote you couldn't make up if you tried:

Years ago, while on tour with a modern dance company, I arrived in Toronto for our 8 hour load-in day prior to our first performance.  As usual, the first thing I did was introduce myself to the house crew I'd be working with for the week, and try to remember their names.  (I'm generally bad at remembering names...)

They introduced themselves, telling me their positions and their names.  Near the end of the group was a man of Chinese descent who said (and, no, I am NOT kidding) "Hi, I'm your Master Electrician and board operator, and my name is Gogo."

It made for a week filled with laughter and jokes, and a lifetime of telling this story.

Now post your true to life SM Anecdote, if you have one!

62
The Hardline / Equity Mourns Patrick Quinn
« on: Sep 24, 2006, 02:04 pm »
From actorsequity.org

Sunday, Sept. 24



Equity Mourns Patrick Quinn

It is with deep sorrow that Actors' Equity Association announces the passing of Patrick Quinn, the former President and newly appointed Executive Director. He died Sunday morning of a massive coronary. He was 55 years old.


Patrick Quinn

Mr. Quinn was a working actor for all of his adult life and a strong champion for the rights of his fellow actors. He had served as a Councillor of Equity since 1977 and held many leadership positions within the Union. He was elected President in 2000. During his tenure, Mr. Quinn led the Union with strength and distinction through the aftermath of September 11, 2001, during which he worked closely with the other theatrical unions and employers to stabilize the industry and reinvigorate tourism for New York City. A strong advocate for theater labor, he walked the picket line in a show of union solidarity during the Local 802 Musicians strike on Broadway in 2003 and faced a similar situation a year later when Equity's own Production Contract negotiations nearly resulted in a shut down of Broadway and road houses across the nation.

A native Philadelphian and graduate of Temple University, Quinn began his Equity career in 1970. He made his Broadway debut in the revival of FIDDLER ON THE ROOF with Zero Mostel. His other credits include ten Broadway shows, including A CLASS ACT, BEAUTY AND THE BEAST, LEND ME A TENOR and the revival of THE SOUND OF MUSIC.

His most recent appearance was in the Cape Playhouse production of SYLVIA and earlier this season he appeared in GUNMETAL BLUES at the George Street Playhouse. Last year he starred as Daddy Warbucks in the record-breaking engagement of ANNIE at the Walnut Street Theater and reprised that role in this season's ANNIE WARBUCKS.

Mr. Quinn is survived by his partner of 12 and a half years Martin Cassella. He is also survived by his brothers James and his wife Sondra, of Naples, Florida; Gerard and his wife Gail of Cotesville, Pa; John and his wife Marguerite, of Doylestown, Pa; and a sister, Livanne Antonucci and her husband Joseph; and nine (9) nephews and nieces.

In lieu of flowers, donations can be made to the Actors' Equity Foundation, BC/EFA, or the Actors' Fund of America.

63
The Hardline / Lateness Letter/Written Warning
« on: May 27, 2006, 01:57 pm »
To those of you AEA SM's who have General Managers or Producers who require written warnings to cast members for each and every violation of contract (ie: lateness), so that there is a paper trail, I'd like to ask you, what do you write?  

What is the actual language of the written letter or warning?

And who is it CC'd to (AEA, Deputy, Producer, etc?)

Anything else I should know about documenting violations, with written copies going to the actor?

Thanks,

Ruth

64
The Hardline / Another "Under What Circumstances Would You...?"
« on: May 25, 2006, 06:26 pm »
As I love taking statements from previous threads and formulating a new topic to disuss, I'll do it here and now.


In a previous post, MattShiner says

"It's always sticky to turn to a director and go, no, i am not going to deal with this on my day off. I have never said that, but I do know it's in my right."

So, AEA SM'S:

Under what circumstances and for what reasons would you agree to work on your day off?

Under what circumstances and for what reasons would you refuse to work on your day off, and have you ever made such a refusal?  


Discuss!

65
The Hardline / AEA LORT SM's--What would you do if:
« on: May 22, 2006, 11:42 am »
To All LORT AEA SM's,

What would you do IF:

At the end of the last day of the rehearsal week, on Sunday night, the director turned to you and said he would e-mail the schedule for Tuesday's rehearsal to you on Monday, your only day off. (He does not say when he'll send it, just "when it is ready," meaning one would have to wait around for receipt of said schedule, on the theatre's e-mail system, on the day off.)

AND the theatre requires e-mailed schedules to go out to the artistic team and office staff, hard copy schedules to be posted in several locations around the theatre, hard copy schedules in several "high-level" staff mailboxes (they don't want e-mails), and a "Hotline" voice mail, of course, recorded for the cast who is supposed to have at least 12 hour notice of the next rehearsal call.  

When the director is adamant that he will not be pressured, when you've just finished your 52 hour tech. week and need the entire day off, and when the cast needs to know the schedule by Monday night,

What would YOU do?

(By the way, this is a resolved situation, so I don't need immdiate assistance. I'm just interested in your takes on the matter)

66
Employment / Under what circumstance is it right to...?
« on: Jan 17, 2006, 02:12 pm »
I thought I'd begin a new thread expanding on a topic Matt brought up in the Full Time Employment thread.  

Matt states, "I was, for awhile, able to keep myself booked a year in advance. (Now, I missed some wonderful, high profile opportunities, including two broadway shows, because I was booked long in advance.) "

So here's the question open for discussion:  Under what circumstances do YOU feel it is right to give notice to a job "booked long in advance?"  For a "better" job, for more money, for something more creative, or in a city you'd prefer to work in? Or other reasons.

I've never gone back on my word on a job that I was committed to, even for the above reasons (including one offer that was A LOT MORE money.)  And sometimes I wish I could....  I'd love to know what you all think!

Ruth

Pittsburgh Public Theater

THE IMPORTANCE OF BEING EARNEST
Jan. 19-Feb. 19 2006

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