Messages

16

Employment / Re: Changing lanes.....

« on: Oct 19, 2007, 10:41 pm »

Although I can't speak from the other side of the coin, I've had really good luck with a temp agency. 

Yeah, that's sort of the fall back    I've had bad luck with temp agencies in the past, but always because i had a short and specific amount of time to fill (like four weeks until rehearsal for the next show start...) and they always wanted a longer commitment.  *sigh*  It's called "temping" for a reason, yes?

17

Employment / Re: Changing lanes.....

« on: Oct 19, 2007, 10:39 pm »

I think this topic hasn't come up as often because folks generally stop coming by the site after they leave the industry.
.....

Heh, well, i still have another show before i go!   Just trying to get things before finding myself unemployed in a new city

Thanks for the key verbs and buzzwords, I'm always worried that my language is perhaps too "flowery" and not "business" oriented enough.

I actually prefer ASM'ing over SM'ing, though i haven't gotten that opportunity for years.   I find myself, as i age, quite partial to being a worker bee (as long as i have freedom to accomplish tasks as directed.  No one likes being micro-managed.)

I've considered nursing quite seriously but the thought of going back to school for years is pretty off-putting.   Ack, i already have a terminal degree!  And still have student loans from that.....

Thanks for the advice!

18

Stage Management: Plays & Musicals / Re: Snappy SM

« on: Oct 17, 2007, 07:01 pm »

ASM should have informed the SM, and the SM shouldn't take out frustration en masse on headset. 
Sounds like communication isn't ideal.   Ah, theatre.

 Honestly, in that situation, i would have reminded the ASM (rather than passing on the info myself and getting put in the line of fire, especially if this is a common behaviour) since clearly there was too much going on and s/he forgot to make that new information known.   ("Hey, did you already mention the new cable to --?  I didn't hear the actors get warned").    But that's just MHO

19

Stage Management: Plays & Musicals / Re: Spiking on crazy floor treatment.

« on: Oct 17, 2007, 05:48 pm »

I've used "Light spikes" in the past on surfaces impossible to spike otherwise.    Basically, you have a special light with an "x" or "L" template/gobo that is brought up just before the element needs to be set.   

Sort of a last-measure resort, as it only works for a small number of spikes, and you have to work with your lighting designer to get it up, and if that light ever gets knocked out of focus everything would go seriously downhill.   But it is an option if all else fails.

I'd try tacking down yarn first

20

Tools of the Trade / Re: Keeping Spike tape down...

« on: Oct 16, 2007, 02:31 am »

Ack Ack!
Keep your paint pens and clear packing tape away from my marley floor!!
 
We use only spike tape (both paper and gaff style) and clear marley tape.

Paint pen was offered specifically as a solution on a *tile* floor.  I would never dream of using that on dance flooring.

21

Employment / Changing lanes.....

« on: Oct 15, 2007, 07:40 pm »

I'm sure there has to already be a thread for this but i'm not finding one...

Due to a variety of personal reasons, I'm leaving theatre and Stage Management.   The job is too consuming for me and I need to transition to a line of work that will allow me flexibility in work hours and the ability to take time off when needed for illness or personal reasons.   

I've been a successful professional SM for years and don't have much job experience outside of theatre.   Even when not stage managing i mostly worked in theatre....

*I* know that I can succeed in just about any line of work, but how do I phrase that in a convincing way on a resume for people who just don't know how theatre works?  It's tough enough to explain what a stage manager is in 100 words or less.   I don't want to waste a lot of print and paper (and interview time) explaining what i've been doing with my life....more interested in spotlighting the many strengths and breadth of experience that i already have and can put to work somewhere else.

Any ideas on how to phrase this concisely without scaring off potential employers?  I've been lucky enough to not have to look for non-theatre work for a very long time so I'm starting from scratch here and it's a little frightening.  I have put together a non-theatre resume which i'm glad to share with anyone willing to give input!

I'm very sad to leave theatre, especially after everything i've been through and given up to make this career work.    However, it is what i need to do at this point in my life.    Sadly, i don't have a target audience yet so I'm not ready to tailor to a specific industry (or potential job market, still trying to figure out that aspect of the shift.)

I would very much love to get some help from people in the know on how to make the transition to non-theatre-work and how others would phrase our skill set to those who haven't 'been there'.     



On a  totally different note, i told my PM in July that i would be leaving after X-mas, and am astonished that the rumour mill has not yet circulated this information.   The high-ups all know as they've already hired a replacement, but  but most of the people i interact with directly on a day-to-day basis have no idea i'm leaving until i tell them personally....is there a tactful way to spread the information without talking individually to every person?   It's a pretty big place!

22

Stage Management: Plays & Musicals / Re: YAle Short Hand

« on: Oct 15, 2007, 06:57 pm »

Blocking Notation is Blocking Notation and every individual stage manager does it differently and THEIR own way-

While this is true in the real world, i would not be surprised to learn that a particular program taught a very specific blocking system.....there are certainly plenty of codified blocking systems that seem like heiroglyphics to outsiders.....

23

Students and Novice Stage Managers / Re: I feel I have been cheated....am I really over my head...

« on: Oct 10, 2007, 05:12 am »

Ask people to clarify or explain!   Every theatre (and group, and person) works slightly differently, and most have their own way of phrasing the same thing.   No education can prepare you for every possibility, so take what you have approach every message as the beginning of a dialogue - not necessarily something you should completely understand at first glance.

24

Stage Management: Plays & Musicals / Re: How long does it take to create a rehearsal report? (Poll)

« on: Oct 10, 2007, 05:05 am »

Tough questions.  Depends on how loaded the day was, if it was a "touch on lots of scenes for the first time and come up with oodles of notes" sorta day or a "work the same 3 pages for 8 hours" kind of day.   
If it's a relatively slow day, i can do all of the report during rehearsal and then just print, proof, and distribute in about 10 minutes.  If it's been a crazy hectic day with lots of discoveries i might spend 45 minutes doing notes after the actors have gone home.

25

The Hardline / Re: Its the New Guy!

« on: Oct 10, 2007, 04:57 am »

Erin ~

Congrats in being behind the Orange curtain and having no trouble finding LORT work.
I work at Laguna Playhouse quite a lot. And you?

SCR, pretty much exclusively for the last three years.  (They keep me busy enough that the two months off screams "Vacation!" rather than "Summer Job!")   We probably have a LOT of common contacts

26

The Hardline / Re: Equity "half-hour"

« on: Oct 10, 2007, 04:54 am »

Here's a new question for you all:   is it better to use the god mic to make your calls, or do them in person?    I understand a personal call would be nearly impossible for a large theatre/cast, but for those of us in mid-size to small, is there a professional standard?

I always do half hour door to door so that i can personally see each person (sign in sheets don't let you know when someone is coming down with a cold....) and check in.  Doesn't take much time to track everyone down when they are expecting you.    Five i usually do via god mic so that no one misses it, no matter what corner s/he is tucked into.  Fifteen depends on where i am at that moment, but again i like the reassurance of personal calls

27

Stage Management: Plays & Musicals / Re: ASM Books?

« on: Oct 10, 2007, 04:35 am »

There should be, but sadly, don't seem to be any.   Hrm, i sense a new venture.....

28

The Hardline / Re: Equity "half-hour"

« on: Aug 01, 2007, 11:03 am »

Does equity require that actors have access to the stage during "half hour" or is this just a 30-minute period in which the actor (in the building) should not be bothered? Can half hour occur when house opens 30 minutes before GO? If the actors are called at 7pm for an 8pm GO, does/can half-hour start at 7? Is half hour a time aside from getting into makeup etc.?

Examples of pre-show calls/schedules would be helpful.

The three minute call is odd and just eats into your time.    30, 15, 5 and place do the job, give everyone plenty of notice, and allows you enough time to go to the bathroom and get ready yourself in between making calls.

Actors are usually allowed access to the stage before 1/2 hour as a courtesy, it helps them to warm up in the space.   As mentioned before, it does need to be coordinated with stage crew so that actors aren't getting in the way of scenery and prop set up.   

Typical pre-show times: (not including wig or makeup calls that go outside half hour)
6:30pm  Crew Call  (sweep, mop, presets)    Actors sometimes on stage, in the aisles, warming up wherever possible
7:15pm  Fight Call
7:30pm  Half Hour
7:42pm  "Fifteen"
7:52pm  "Five"
7:57pm  "Places"
8:00pm  , or whenever you have places and the house.....  Curtain up

29

The Hardline / Re: Its the New Guy!

« on: Jun 17, 2007, 10:09 pm »

They don't always require Equity ASM's but if an ASM is not required/hired, I don't believe you can acrue EMC points for serving as a non-Equity ASM. Just my opinion...

And apparently in LORT EMC point can only be accrued if there is an equity ASM.  So a PA acting as a non-union ASM can't accrue points, but might very well get bumped up to an equity contract in later seasons.

My $0.02 - a theatre i PA'd for gave me my card at age 23 (i never even looked into EMC) and i haven't had a problem finding LORT work.    But that could be very different in another region.

I'm not convinced that accumulating EMC credits shows employers you are serious about the career path.  You could be extremely serious about professionally stage managing in non-AEA venues.  In that situation it would be a waste of time, money, and effort.  And worse,  a non-AEA producer might think that you aren't interested.

30

Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Jun 16, 2007, 11:13 pm »

Has anyone tried Paramedic's pants?  They usually come in dark colors, are very durable, and have tons of pockets.  They seem like they would be perfect, but I don't know.

Opinions?

SSM

I love the HUGE pockets (big fan of pockets here) but don't like the aforementioned swooshing noises.     There seems to be enough of a cargo trouser selection in the normal stores lately that finding decent black slacks with lots of pockets isn't impossible.     I also swear by the boys section.   Sure, i'm a woman, but the larger boys sizes fit just fine and are SO much more practical than women's clothing.   Honestly, i don't care how my rear looks in rehearsal as long as it is fully covered.   More valuable to be able to find pencil, pen, sharpie and cell phone in an instant.

Some people in grad school tried to convince me that wearing a skirt and fancy shoes and dressing all girlie would help with the "authority" issues inherent in being a small woman, and while that might work for some people i feel hobbled in dressy clothes.  I've tried wearing a skirt and i don't know where to put my keys and phone.  It's ridiculous.   And no one should ever wear flip flops to work backstage.   Drives me crazy around here.