Messages

466

Students and Novice Stage Managers / Re: Musicals Vs. Straight Plays

« on: Nov 29, 2006, 10:38 pm »

It is very possible that the band will be onstage, as it is with most productions of CABARET.


I am also PSM'ing CABARET this winter, albeit in a AEA setting.  I start pre-production on Dec. 18th and begin rehearsal the day after X-mas.  Please feel free to keep in touch with any more specific questions or problems.  I'd love to hear about your experience while I'm having my own!

I'm going to be ASMing a musical that's in pre-production right now and will be going into rehearsals in January. The play is Cabaret and I can't read music, but the other ASM can and I'm fairly sure that the SM can as well. I haven't heard anything about an orchestra or orchestra pit yet, but perhaps I've missed the talks about it, or something. Broad question, but has anyone ever worked on that show before, or have any other advice to add for me or ESM_John?

467

The Hardline / Re: prompt book

« on: Nov 21, 2006, 07:03 pm »

I quote Matt Shiner (if I may) from a previous thread:

"As far as a director asking for a prompt book, I would ask them to ask the production management for a copy.  I would not give it out."

I completely agree.  It is up to the Producer/Theatre to decide who gets a record of the production.

Ruth

468

The Hardline / Re: Use of Technology (Videotaping Performances)

« on: Nov 11, 2006, 06:12 pm »

Interesting thought, Matt.  The closest thing I've ever heard of is a concession being granted for video-taping of vast fight sequences in shows like "Three Musketeers" so that those fight sequences can be both notated and maintained. This video (to the best of my recollection) could only be of the specific fight sequences granted in the concession and the tape had to remain in Stage Management's posession and destroyed after a certain time period.

I'm not even sure Stage Managers on Broadway are allowed to video-tape to put a new SM into calling the show.  (Someone here please correct me if I'm wrong...)  My friends who have gone into calling shows have always just watched from near the calling position, made their own version of the calling script, and listened to the calling repeatedly.

That all being said, it is nice to know that I'm not the only one who can't get all the blocking changes during tech. of big shows, as I never have extra staff for such a job.  It sure would be nice to have a tape for that, which I would happily destroy after updating notation.! 

It doesn't hurt to ask, but, personally, I wouldn't hold my breath!

Ruth

[snip]

I am looking into asking for a concession from Equity to allow stage management to record a performance early in the run for the following purposes:

1) To allow me to update blocking that happens during tech which I am unable to get do to teching the show.  (especially during tight tech moments)
2) Allow me to train an ASM or outside SM to take over a show.

Now, there is no current rule that would allow such thing.  Has anyone ever asked for such a concession?

469

Stage Management: Plays & Musicals / Re: Calling Spot Light Cues

« on: Nov 11, 2006, 10:22 am »

As Mac says, in a run of any length, cue sheets are also my preferable way of working with the spots.  Cue sheets will remind them of color, focus, size etc.
I consider my job to be getting the spot ops. to time their ups and outs with the other technical elements of the show, most importantly the other lighting effects.

Also, I've found it helpful not to call absolutely everything they do.  For example when a spot-covered actor leaves the stage the operator has already had a standby such as: "Standby Spot 1 out, on your own."

However, unlike Mac, I don't use cue numbers for spots although most ops like to know an electrics cue number in the vicinity of the Spot cue just for reference.

For example:
"Standby LX 93, Sound 47, and Spot 1 on Sally"
(Waiting time)
"LX 93, Sound 47, and Spot 1.........GO"

If the standby was for both Spots happening at the same time, even on different actors, I simply say "Spots.....GO"

And as a run progresses, if you have the same operators at each performance, you have to help them less and less with certain reminders like "Standby spots out in a bump, "stay off the proscenium,"  or "keep her feet in the spot."  It's like riding a bike, once they've rehearsed and run it, it gets into the body and muscle memory works in your favor.

Hope this helps,

Ruth

Question for all:

What method do you use for calling spot light cues?  I've heard several different things but haven't found a method that REALLY works for me.  The last show I did, I ended up having to explain to two spot ops what each spot light cue is and how the spot should be focused, how large, what gel color, etc.  As you all know, in a heavy cue sequence, this is not possible.  Any tips or ideas of a reliable way of doing spot cues?  Any advice/help would be much appreciated!

Thanks!

TroyPSM

470

SMNetwork Archives / Re: Drinks, Teas...

« on: Nov 01, 2006, 01:20 pm »

Try Caramel Food Coloring for brandy, whiskey, etc.  It has no flavor and very few calories!

Beverage Recipes

Red Wine:
112 oz (2 pots) hot water
10 Celestial Seasonings’ Wild Berry Zinger tea bags
1 ˝ teaspoons red food coloring
16 drops blue food coloring

White Wine:
56 oz (1 pot) hot water
4 Celestial Seasonings’ Chamomile tea bags

Brandy:
1 gallon water
3/8 teaspoon caramel color

Tea:
3 Lipton tea bags in pot


Coffee:
1/2 tsp. carmel coloring
1 pot water

Whiskey
1/4 tsp. carmel coloring
˝ gallon water

471

Stage Management: Plays & Musicals / Re: Out On Tour

« on: Oct 21, 2006, 10:27 am »

From reading the ad, I can see that the compensation is not in line with the TYA contract.  My guess is they are using the term "TYA" to mean "Children's Theatre" in a generic sense rather than referring to the AEA contract.

This seems to NOT be a union job. Maybe better for you at this juncture!

Ruth

Thanks for all the information . . .

I know I'm not ready to join Equity yet, but now that answer re the TYA contract brings up a HUGE question.

The ad says, non-union. How can the position be non-union if they also say that it's a TYA contract? I don't understand. Here's the text of the ad. in question . . .


(snip)

The pay for the touring company is $1,500 a month totaling $7,500 for the 5 month tour. Housing will be covered while on the road, however a temporary residence in the FM area will not be covered. We also do provide a $10 per meal per-diem while on the road, if gone for three meals in a day the total is $25 per day

472

Stage Management: Plays & Musicals / Re: Out On Tour

« on: Oct 20, 2006, 06:05 pm »

TYA=Theatre for Young Audiences, an Equity Contract category.  It generally means shows presented for kids, either in schools or theatres mainly during school hours, early evenings, and weekends.

Oh, and what's a 'TYA' tour? Job description says, TYA contract. Never heard of it. Help?

473

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.

474

Students and Novice Stage Managers / Re: ASM choice conflict

« on: Sep 18, 2006, 09:33 am »

Very true.  I've actually been in this position twice this year.

 The first time I turned down the job, for a number of reasons, not just the choice of ASM, but that was one big part of the decision.

The second time is an upcoming show.  The choice of ASM is not open for discussion.  I'm not truly comfortable, but I'll forge ahead as if I am.

In the world you don't always get a chance to pick you ASMs . . . it's often done by the production manager.

475

The Hardline / Re: AEA - LORT - QUESTION #1

« on: Aug 28, 2006, 04:08 pm »

As a freelancer, I prefer to be able to plan my life.

So, I prefer a contract consistent with the theatre's current plans at the time that they offer the contract, whatever those prospective plans might be.

 I will take a firm closing date on the face of the contract (that can be changed by additional rider later when a FINAL decision is made) OR, with the original contract, a rider of "possible" extension with a clause stating that I will be notified of any extension by a certain date (this date to be agreed on by myself and the theatre, possibly an earlier date than AEA requires.)

Although I am happy to extend almost any production with enough notice,  I need to be free to actively seek (if not accept) other employment if the theatre cannot be "sure" of their schedule.

That being said, if a production intrigues me enough, I would pretty much go along with either a contract for the proposed run, followed by an early closing notice, or the rider to the original contract, as long as the production manager/producer verbally agreed to let me know "at the earliest possible moment" of their plans, and not make me wait for a closing notice to be posted or extensions riders to be printed.



>How would you, as a SM, be perfer to be contract for a show with a possible >1-week or 2-week extension.  As the person hiring, I would want to the contract >to extend covering the entire proposed length of the run, and then just post a >closing a notice

476

The Hardline / Re: Equity Deputy's identity

« on: Aug 01, 2006, 05:24 pm »

I'm with Loebtmc.  If I am asked by a Producer/Artistic Director for the name of the Deputy I reply that the Deputy prefers to remain anonymous.  I have surprised quite a few managers with that answer, as they are used to knowing. (In fact, I've been labeled "trouble" several times for protecting this information.)

But, sadly, they usually seem to find out anyway later from someone with looser lips than I.

Ruth

477

The Hardline / Re: Health cards discontinued

« on: Aug 01, 2006, 05:14 pm »

 >The AEA website says that the cards have been "replaced" by the First >Rehearsal Questionnaire, and then goes on to say that the only people who >have to fill out an FRQ are those who are on their first AEA contract, and >those whose personal information (address, phone #, agent, etc.) have >changed since their last contract.

The above was confirmed to be true for me by a Business Rep. just a couple of days ago!

>I have two questions, and I'd be happy to post them to AEA, but people here >usually know the answer better than our business rep...
>1) How do you make sure your dependents are enrolled?

I would call Equity League Health Fund directly with that question.


>2) Is it true that AEA doesn't need anything other than your signed contract >in order to calculate health weeks?

It's all AEA needs from the Actor/SM.  The Producer, however, submits a weekly Pension/Health report to AEA along with their check to cover P&H, and that report is used to calculate weeks.

Ruth

478

The Hardline / AEA Showcase Code

« on: Jul 29, 2006, 05:14 pm »

The NYC Showcase Code is not a contract, and does not qualify one for membership in AEA, regardless of how many showcase productions you have participated in. 

479

Stage Management: Plays & Musicals / Re: Working with nudity

« on: Jun 27, 2006, 09:47 am »

All the suggestions given are well thought out, but there still one missing.

Please discuss all this with your director.  If the director is prepared, he/she should have a specific plan of action when it comes to working with nudity in rehearsal.  The director really should discuss this plan with the actor to make sure he is comfortable with it, and then let you know the details. And the director and costume designer will dictate what the actor wears for bows (robe/sweats.etc.)  Generally, if it's in the bows, it is a costume and should be planned/designed as such.

If the director has not considered all this already, then you have suggestions at hand from this group.  But let your director make the decisions, and you facilitate them!  Don't take on all the planning responsibility on yourself.  The director is a huge part of this, along with the actor!

(Just my 2 cents.  I believe that directors should actually direct, and this includes decision making about the above.)

480

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