Messages

1981

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

« on: Nov 12, 2006, 11:18 am »

Well, I know I can use the Archive video tape  for all my purposes, but as I said I just can't get it done in time.  So basically, all I am asking for is a second archive video tape of the show.

Recently, has anyone dealt with this, Directors are now allowed to videotape a run thru in rehearsal for their purposes.  (Something SSDC negotiated with LORT or AEA . . .).

1982

The Hardline / Use of Technology (Videotaping Performances)

« on: Nov 11, 2006, 05:47 pm »

I have had an idea in the works for awhile.  I tend, at my current job, to work on large cast shows, lots of technology in the scenery and lights, and at a theatre we treat very seriously, sinec we tend to run shows 10+ weeks.  This is an AEA LORT company.

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?

This would be seperate from the Archival Video . . . which is done by an outside company, comes very late in the run, and has a turn around time which would not make it useful to me.

1983

SMNetwork Archives / Re: Who makes the best SM's?

« on: Nov 11, 2006, 12:45 am »

Early in my career, I had a job as a resident stage manager.  My wife was pregnant at the time, and my son was born mid-season, in April.  As I was negotiating my next season’s contract, he mentioned that somewhere around April/May he notice as remarkable jump up in my skills.  Why?  Because I became a parent.

The skill sets listed below are all skills a good stage manager needs to have  . . . this is a good list to start with

Calm under fire
Problem solver
Compassionate
Disciplined
Thoughtful
Thorough
Discrete
Professional
Polite
Steadfast

I would add

Selfless
The ability to empathize
Eye for the detail
Eye for the big picture
Good sense of humor


And the list can go on.

But there is a special set of skills that come with being a parent that I think help you not only be a good stage manager, but also deal with being a stage manager. There is a lot to learn when you become a parent about being responsible for something, without be in control. 

1984

Students and Novice Stage Managers / Re: Prompt Book Help

« on: Nov 10, 2006, 05:57 pm »

Tell a director Tech is Tech, and blocking is done?  No major changes to blocking a week before tech?

Seriously, how realestic is that?  I mean, if a director wants to change blocking during tech, it's still his show, it's still his rehearsal - what is the point of lighting or teching anything if the director wants to make changes, especially since if he doesn't do it during tech, he is going to do it during previews - and then you have to retech.

I guess at the level I work with, my job in tech is to make sure I can finish teching the show . . . as long as I have time for that, the director can do anything he wants.

Wants a show gets on stage, in costume, in front of the set, etc, etc - you will find that things have to change and things will need to change - holding a director to some sort of artifical deadline is silly, and most likely not in the best interest of the show.  BUT, the director may need to know that due his changes, things may fall beind or need to wait (new blocking, new special, new hanging position, etc, etc.). 

Hopefully all changes are done to improve the show, and everyone wants to make the show the best. 

The concept of "NO CHANGE" dates does not utimately serve the show, but any professional director worth a crap will know that last minute changes will not always be able to be implemented, but it's my job to help see how they can.  A good lighting designer should be able to have a plot that will accomodate changes, or allow additions.  (At my current theatre, a major regional theatre, the light plot is due BEFORE we even finish staging the show . . . and often hung by the time the deisgner sees a run . . . so they need to be proactive in their design, anticipating changes.)  It's my job to communicate blocking issues that may not work with their plot.

I do think young Stage Managers should enter the world thinking a show is ever set until open.  (For example on my current show, we reblocked an entire dance after the third preview, cutting out 2 characters . . . it happens - it happens all the time.) 

1985

The Hardline / Re: Another question on joining AEA

« on: Nov 06, 2006, 10:48 pm »

So my question is if I join AEA, does that bar me from doing any show (paid or not) that's not an Equity contract, or just any show in which i'd be acting or stage managing?  Could i still tech/run crew? 

You could tech/run crew a show.

You could also do non-union dance and opera.

You could also do circus.

You can also do non-English productions. 

But once you join, you can not work non-AEA theatrical production again - there are penalties for such things.  It's a big no-no in the union, and one of the things to keep in mind when taking your card.

1986

Employment / Re: When Nobody Wants You

« on: Nov 06, 2006, 10:42 pm »

Wow.

There is a lot issues your brought up; lots of broad, emotional, and comlicated issues and emotions.  My first bit of advice is talk to other stage managers you work with or who work in the area.  I know this can be hard, since often we work singularly and then we are competition for jobs with the other stage managers.  But, I think once you start talking to other SMs, expecially those who are in the same job market as you will help bring things in perspective.  Also, if they know you and your work style, they maybe able to offer some specific advice.

Here's my advice . . . take it or leave it . . . and if you do take, take it with a grain salt.  You don't know me, and I don't know you . . . but it seems like you are looking for some advice . . .

First, don't assume you will be happy and fulfilled when you have a specific job - there will always be something wanting and unfulfilled.   It’s an attainable goal, but it will here’s the thing, it will always going to be some element of chance and luck – that’s this business.  There is no direct path to advancement.  (Unlike my brother who graduated, got a job, a company car, business cards, and a very clear path for advancement.)

You mention that you have worked for 15 years and no DIRECTORS know you name; forget directors – in the end you need to impress production managers – production managers are always going to be one to hire you, and if you impress the production manager, he or she will get you back in the theatre.  (Especially if you are eyeing yourself for a resident stage management position.)  In the end, if you are a resident stage manager, you are going to be an extension of production management.

This business is built on rejection – there were times I was sending out 10-20 resumes a week; either applying to specific jobs, blind resume sends, or just sending my resume to stage managers just to make a connection.  My two longest gigs, 3 years each, came from a blind resume send to a theatre half-way across the nation.

You ask a very important question . . . is it you?  Is there something about you that makes you not hirable?  Who knows?  Talk to people . . . someone has to know why?  Maybe there are areas in stage management you need to improve . . . we all do; hell, I know part of my day off today was to make a list of 5 things I want to do improve my style of stage management.  This is where it is hard to give a person advice on how to improve themselves . . . I know nothing about you. When I felt like I hit a ceiling and had NO idea of how to make the next move, I chose to grad school – 3 years focusing on my job, making connections at a level I never thought I would make, and 3 years IMPROVING myself.  I know nothing about you to know if this is the right move for you, but if you have doubts about the skills you posses to be competitive in the job market you are in.

As far as balancing a day job and a show, there have been some recent posts about this – do a quick look around.

This career is frustrating at times, even we have the job, and when you have to work so hard to FIND a gig, it just makes it hard.  If stage management is something you truly love – and in some ways, it is a calling - then you will do everything you can to make it work and make it work on your own terms. 

If you just need someone to talk to, send me a private message, and this conversation can continue.

1987

SMNetwork Archives / Re: Who makes the best SM's?

« on: Nov 06, 2006, 12:29 am »

Floor lamp SM with gay man director . . . depends on where the floor lamp was purchased

LOL.

Yes - there are different types to line up with different types.

1988

Students and Novice Stage Managers / Re: Website for the show

« on: Nov 05, 2006, 12:53 am »

We covered this topic before.  (somewhere)

I tried doing it for a full year, and in the end, although I think it may be good in a couple of very specific examples, in the end it was alot of work for very little use by either staff or cast members - but ended up being an additional 15-30 minutes of work for me during the day.  (and my day is already 9-10 hours a day).

I think perhaps you should try it, especially in college.

I found it useful when I did an Opera with like 50 supers; it helped them feel involved.  But at the regional theatre level,I found it to be a waste of time, when we already had so many time tested communication methods in place.

1989

Students and Novice Stage Managers / Re: Two shows at once?

« on: Nov 03, 2006, 10:54 pm »

I am always working on two shows at once, but for one company.

The question is can you give 100% to both shows - what if the commitment becomes greater.  Which show will take priority.

The basis, for example, of the AEA contracts are that you are 100% available for the show, and have no other contract that would conflict, with notifying that second show you sign with.  If everyone is okay with it, why not?  But can you serve both shows at the same time.

1990

SMNetwork Archives / Re: Who makes the best SM's? (My Joke)

« on: Nov 03, 2006, 10:50 pm »

Gay Women make the best stage managers.
Followed by Gay Men.
Followed by Straight Women.
Followed by a floor lamp.
Then straight men.

(This is a joke I usually share with my staff)

I think that it will always be an individual who is a good stage manager, and not a sex or sexual orientation.

But if you speak in broad generalizations and sterotypes, the my joke holds true, in my opinion.  BUT, that is based on my personal experiences - some of the best SMs I have worked with have been women - but there are a lot more women stage managing, thus, just plain odds would make it true that the best SMs I have worked with are women.

If you are going to play with broad generalizaions, then you are going to loose and offend.

and, what is the "best" sm?  How do you compare?

1991

Stage Management: Plays & Musicals / Re: Red and Yellow and Blue and Green

« on: Oct 30, 2006, 02:00 pm »

I think in the end you have to spike what is best for the show - don't get too caught up in making a system and sticking to it every show - because every show will have it's own needs.

I have done spikes per scene, per set or funriture peice. It depends.

I am also a big fan of getting rid of spike tape and replacing with paint pen marks - that way the fear of tape being ripped up is gone.

1992

The Hardline / Re: SM "Present" at Rehearsals

« on: Oct 27, 2006, 10:33 pm »

"Present" at Rehearsals.

I take Present, per the Equity Rule Book, as to be in the building.  (I kind of figured this out when you are running three rehearsal rooms at the same time - vocal work, fight work and dance work.)  For example, our rehearsal hall has three different studios, so being in the building, I can count as the SM for all three rooms.

How I tend to work is I am usually with the director in the main room, and have one of my assistants (either Equity or non-Equity) be in the fight and/or dance work, and dialect is usually in the room by themselves.

I tend never to sit in on fight and dance work, and usually have an assistant do that, while I can catch up or get ahead on paperwork.

1993

The Hardline / Re: Is Canada another country?

« on: Oct 26, 2006, 10:43 am »

Yes, Canada is another country.

There is a Canadian Equity, that is seperate from American Equity.

You can be on an Equity Contract and tour internationally.  (Recently, I performed in England on an American Equity Contract.)

But, I believe, every show is different, and the specifics should be discussed.  Most likley, it seems, it was an American Production touring to Canada, which I believe can be done on an American AEA contract.

But there are always quirks.

(Like it's wierd to me that American AEA only covers English language performances - so if you are doing a performance in another language, it technically doesn't fall under AEA . . . so you have to come up with a whole new set of rules.  But I digress.)

1994

Stage Management: Plays & Musicals / Re: Dialect Rehearsals

« on: Oct 26, 2006, 10:40 am »

In an Equity situation, if an actor is in rehearsal, regardless of the rehearsal, I think a SM should be present.  In the cast of a school situation like this, I still think the SM should be present - although not necessarily in the room with them, but just to make sure it is set up, running well, doors are unlocked, etc, etc.

I remember once when doing a dance show, I was not required to be at rehearsals, but I did attend a lot of them, to the point I was expected.  One rehearsal I chose not to be there, I received a phone call asking where I was . . . no one had brought keys to the rehearsal space. 

Little things like that come up; it's nice to be to handle them, but in the end there is no right or wrong answer for this - it's all a question of the style of the SM.

1995

Students and Novice Stage Managers / Re: Starting a cover letter

« on: Oct 25, 2006, 09:56 am »

also, a good article on giving your resume a face lift . . .

http://www.lifeclever.com/2006/10/24/give-your-resume-a-face-lift/