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Messages - stagemonkey

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31
Employment / Hiring and references
« on: Nov 27, 2006, 10:48 pm »
As someone who is trying to make his start in the professional world I keep seeing more and more reminders of how small the theatre community really is.  With that in mind you have to think if you are putting someones name down on your resume it is often because you want to show you worked with this big named person, and if that person does have a big name chances are someone else seeing your resume might have worked with them before, and if they know each other they will ask each other about the applicant. 

So I have to agree with what MatthewShiner that if you had a bad experience working on a show or with a director then that is probably a line you want to leave off your resume.  Cause ultimately you are going to have done countless more shows then you can fit on a page, the resume is to highlight your best work that you are most proud of.

32
The Hardline / Re: Use of Technology (Videotaping Performances)
« on: Nov 13, 2006, 04:33 pm »
It would be highly useful.  I have not delt with equity as I am still early in my SM carreer, but in college they would do this all the time especially with the dance shows.  It was so helpful as it allowed me to sit down with the LD before tech and have our own dry tech with the rehearsal video so that when we got to tech it was a lot easier. 

33
Employment / resume format
« on: Nov 13, 2006, 03:12 pm »
I'm in the process of reworking my resume as I hit a point where I need to start lining up some more jobs, and while adding in shows I have done since the last update of my resume I look and am not fully happy with the layout.

I was wondering on a resume what people consider the important information to list.

I've seen some do it the following ways:

Job - Show Title - Theatre Company - Location - Dates

Show Title - Job - Director - Theatre


I'm just wondering what others do and what reason you chose the listings.  I mean i know show title, theatre company and job title are all needed items, but why would you say choose to list the date, director, or locations.

(subject edited for clarity 1/20/7 - ljh007)

34
Students and Novice Stage Managers / Re: Rehearsal Suggestions
« on: Nov 10, 2006, 11:36 am »
Quote

1.  Most directors want stage managers to be seen and not heard.  Unless you're asked, you should never offer your advice or an opinion.  You never want to tell a director how to do their job-you can offer the problem, but don't offer the solution unless you're asked.


I agree with the others that this one shouldnt necessarily be on the list.  When it comes to artistic ideas, like how the line should be said, what the blocking should be, etc then it can hold true to an extent.  I always think of it as my job as SM to think about everything the director isn't (face it the director has a lot on his mind in putting a show together sometimes hes more focused on the actors getting the story across then what the set looks like).  If the director stages something that I see will cause a problem i feel it is my job to let him know that, and more so if I see the problem I'm not just gonna point it out.  I will point it out and offer an immediate suggestion (or two or three) suggestions on how to circumvent said problem.  Most directors I've worked with always appreciated hearing the problem and the possible solution right away.

In terms of this one it really depends on the director.  I've had some directors who welcomed artistic suggestions from me, but I've had others I wouldn't offer anything to.  Its one of those things you figure out when you have that meeting with the director before rehearsals start. 

35
SMNetwork Archives / Re: Chicago SMNetwork Meetup?
« on: Nov 09, 2006, 09:37 pm »
I'm living in Chicago now doing an SM Internship at the Goodman to help the resume out, then I have a show starting rehearsals the day after I am done there, and then a week off before another show goes up in March.  So basically once one show ends I'm doing the next but would love to meet more SM's to network with.

36
SMNetwork Archives / Re: Who makes the best SM's?
« on: Nov 09, 2006, 09:28 pm »
The TD at the college I went through always compared a good stage manager to Radar from the show MASH.  He was always there with whatever Col. Blake needed before (or at the same moment) Col. Blake would ask for it.  (just think of Blake as the director and Radar as the SM).  Radar also always heard the choppers (think problems) coming well before anyone else did, he saw the problem coming and was ready for it well before anyone else.  Its actually a pretty good comparison if you think about it, and are familiar with the show MASH that is.

Also the last director I worked with made the coment that "the best stage managers (that he has worked with) are good not because they have a desire to be organized, they that was the case they would have been accounts, but rather a desire to know everything."

37
Employment / Re: ASM work in Chicago
« on: Nov 07, 2006, 12:09 am »
backstagejobs.com has a section that just lists chicago area jobs.

also the league of chicago theatres has their own job listing site chicagoplays.com

its the two places I constantly look through. Depending how much money you need to get by you can also try getting EMC points through stage management internships at the larger theatres.

38
Employment / Re: When Nobody Wants You
« on: Nov 07, 2006, 12:02 am »
You posted something so someone is lible to respond.  All I'm gonna say is I've been there, and while I have some stuff lined up through spring i realized the other day I need to start looking into whats to come after that.  I just hope what I have going now helps the resume a bunch.

39
Students and Novice Stage Managers / Re: Website for the show
« on: Nov 06, 2006, 11:47 pm »
What happened to the old low-tech rehearsal hotline?

Even children's chorus or supers can be trained to call the hotline if they forget or get confused.


The thing is anyone can set up a free website (well it take a little knowledge to set it up).  With a rehearsal hotline someone needs to pay for a phone line to have it on.  For larger companies this can work easily but for smaller theatres its another added expense.

40
SMNetwork Archives / Re: Who makes the best SM's?
« on: Nov 06, 2006, 11:27 pm »

Stereotypes are based on reality.  That doesn't mean they hold true to all members of a certain stereotyped group.  It means they are derived from observed reality.  You don't have to like it.  No, it shouldn't be done because it represents just a surface truth.  People are individuals.  But stereotypes come from somewhere....  they don't just get made up.  Also, I'm not sure all those you listed are really stereotypes.  Perhaps we are misunderstanding the word.

I agree they are based in reality, I was arguing your choice of saying they are based on fact.  When you say they are based on fact you are saying they are true.  My arguement was that they are based on a perception of a small group and not the whole but they put the characteristics of a small select few onto all which makes them false.  In some cases they are based on a false idea.  As I read your earlier statement it comes across that you are saying stereotypes are true and that is the point i disagree with, especially cause I am a straight male stage manager and i dont like the idea that a floor lamp was listed above me (as many have told me I am very good at what I do.)

41
Students and Novice Stage Managers / Re: Website for the show
« on: Nov 06, 2006, 03:35 am »
I tried doing it for a show and found not many used it.  So now the most I do is try to have an online calendar (behind password protection) that lists all the rehearsals and the calls for each person listed by character name, or just first name.  Ultimately the calendar doesnt have any fanciness to it that even state what show it is.   Actors are always given call forms at rehearsals but having it online gives them another easy way to check and then they cant use the excuse "I lost the sheet."

42
SMNetwork Archives / Re: Who makes the best SM's?
« on: Nov 06, 2006, 03:11 am »
i disagree.  i think stereotyping is not based on a small sample but numerous anecdotal evidences amassed over time until they have entered the realm of commonly accepted information.

the first example you give is not a stereotype that I know of. 

however, the 2nd is, and is based on the perceptions of a lot of people not just you.

So if thats the case then if I take all the stereotypes i have heard and consider then fact then all jews are money tightwads, all black are gangsters, all whites are racists, all women are bitches, all men are jerks, everyone in theatre is gay, all athleates are on steriods, (need I go on?) 

as you even said "is based on the perceptions of a lot of people" alot does not mean all, and since it is only a perception it cannot be considered a solid fact.


Now in answer to the overall question I have often heard people say women make  better stage mangers, but in my experiences I have seen few good women stage managers compared to male stage managers.  This does not make them better, I don't think there is a way to say which is better as different ones might work better with different types of directors or types of shows. 


43
They are not used to having any ASMs at all and some of the actors (who are also Board members) do not see the necessity of an SM in community theatre at all.  It is collaborative art and doesn't need that kind of structure.


LOL that just made me laugh.  I see it that all theatre is a collaborative art and the SM is the one there to help make sure everyone is collaborating on the project to reach the same collective outcome.

In college I did a community theatre show.  Ultimately I would think they would have the expectations of what you would do at the start of your work.  From my experience the people of the community theatre didnt know what to expect form an SM.  When I did it I did all my normal things and everyone thought it was so amazingly good.  When it came to a performance I ultimately was more of a floor manager than a stage manager and just coordinated the scene changes.  There wasnt much for sound besides a few hanging mics to help amplify the sound so there was no need to call sound cues, and ultimately by the time the company brought the LD in I would have had like a day to figure out placement so I was ultimately like "look if you know where they go I'll just give you a standby for when the end of the scene is coming and you can change the lights as you want, just follow your script."  And in the end it worked.  Was it done how I would have liked, no, but it got done and taught me to ask at the start what is expected of me as SM when I work with these not so professional companies. 

I also hate when people use the "but it's always done this way here."  Makes me want to just respond back, " just cause its always done that way doesnt mean thats the right way."  Trick is to find a way to have them understand that you know they always do it that way but to convince them to try something different.  Often times people are so stuck in their routine they dont want to try anything new.  It maybe they have never worked with someone with your skill level so they dont know how much smoother things would be. 

I'd say try your best to introduce them to your way but if they arent receptive remember it is community theatre and they (and anyplace really) has their own way of doing things and one of the key abilities of an SM (in my opinion) is the ability to be adaptable.   Do things there way the best way that you can offering helpful suggestions where they will be taken, hopefully you will be able to improve their ways even a little bit.  And then in the end you know not to work with them again.

Best of luck to you.

44
Students and Novice Stage Managers / Re: Two shows at once?
« on: Nov 04, 2006, 12:37 am »
Its tricky to say cause I dont have all the facts you do about the shows.  Like Shiner said you have to answer the question for yourself "can i give 100% to both shows" and from past expeirence I know that is pretty much an impossibility.  Now thats not to say it can't work.  I mean if one show has its tech and begins its run in the early stages of the rehearsal process for the second show and the first show ends before you hit tech for the second it is more feasible. 

Right now I am currently engaged in 2 shows with 4 others coming down the line.  I am currently the SM intern on A Christmas Carol at the Goodman which is in rehearsal and goes into tech in 2 weeks.  While doing this I am also enaged as the SM for The Pendragon with Riddlemark Theatre in Chicago.  For me this works out ok cause rehearsals for the Pendragon dont begin until after the internship has ended, so right now I've only had to attend a few production meetings after rehearsals.  The people at Riddlemark know my commitment right now is to the internship so they are understanding that I can not focus fully on them right now, they also know that when their show rehearses my attention will be focussed on them.  Then after the Pendragon closes I will be SMing 4 other shows (one of which I have already SMed and is just being remounted) in a rep plot.  While these shows are having the occasional rehearsals they know I can not be around for some of them as per my prior engagements, but they want to work with me and are willing to makes things work.  (its really a matter of most the company is finishing up their final year of grad school so they rehearse at the college which is an hours drive away for me, but i do make it out there occasionally.)

So I guess what I am trying to say is its not so much unprofessional as most people will realize that you arent exactly making large sums of money in this line of work and need to take other jobs when they come.  Ultimately you need to determine if the time commitments needed for each show overlap too much and how both productions wold feel about you working on another production at the same time. 

45
I'm currently working as the Stage Management intern on A Christmas Carol at the Goodman in Chicago. They actually have a 2 different reports for each rehearsal.  One being a rehearsal report which states the schedule and what was done and how long rehearsal was, and then a daily tech notes which just lists any tech issues that came about.  How I always did it in college was all this information was all included into a single report.  Does anyone else do it seperately like this?

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