Messages

2176

SMNetwork Archives / Portfolio

« on: Jul 11, 2005, 12:04 am »

Outside of an educational environment, I have never been asked to show any sort of paperwork. Never. I also would suggest YOU never send any sort of paperwork sample cold to a possible employer until requested.

Basically, when I am looking for a Stage Manager, Assistant Stage Manager or Production Assistant all I want is a cover letter and resume with references.

I think in general, and this is my thought, that all the good qualities of the SM can not be summed up on paper - the way you handle pressure, the way you deal with people, the way you look at a show, your sense of humor. When you work for a new theatre or work under a new SM, most of the time you are going to have to adapt your paperwork to the new place you are going to work for. Yes, I can see you can do a prop list, can type a call, etc, etc . . . these are things I usually get from a reference.

Often, when receiving materials from Interns, I actually find that their submitted materials are often a mark against them - they sound great over the phone, the present themselves well in the interview, they have the experience that would make them ideal, but the paperwork they submit is either substandard or "too cute". Make sure when you are submitting materials it is professional.

As far as submitting pages from your calling scripts . . . fine, unless you are doing something amazing in your calling script, I think it is wasted paper. Also, often submitting for a job as intern, you will not be calling a show.

Submitting reviews for a show sends an odd message to the person reading the materials. Does a SM have any control over the quality of the show? Unless the review says something outstanding about the quality of the technical elements of the show or mentions you by name, I don't think the review is an addition. For example I think some of the best Stage Managing I have ever done is on some of the worst shows I have worked on. I would be VERY careful when submitting reviews.

But, there are still programs that will request some sort of example of paperwork. Just make sure you are submitting the best of your work, exactly what they ask for. ALSO . . . be very careful that any work you submit as part of your portfolio does not include personal or confidential information - such as phone numbers, medical information, etc.

2177

Stage Management: Plays & Musicals / another option

« on: Jun 27, 2005, 04:31 pm »

is there work the asm can be doing outside of the rehearsal hall.  I find when th director is working on an intense scene with a small number of actors, I will excuse the rest of my staff - just to keep things focused.

2178

The Hardline / pictures in rehearsal

« on: Jun 23, 2005, 06:51 pm »

I deal with in two ways

1) If an actor wants to shoot candid photos during the rehearsal period, I will ask them to wait a day, announce that so and so would like to taake photos and see if someone has a problem with it.   That way, I am satisfying the 24 hour rule of notice for photos.

2) During photo call, I often let cast and crew take photos as they want - as long as the producers do not have a problem - not one has ever had a problem with that.

But otherwise, I ask nicely for there to be no photography during rehearsal.

2179

Employment / outside

« on: May 05, 2005, 12:27 am »

Well, I too enjoy being able to just focus and be responsible for my area.  But being union does not mean you can not do other things, I did pick up a projection design gig for a show I was working on.  But, I did get paid extra, and there was a rental for the use of my computer.

Early in my career I enhoyed doing other things, but now I like just to focus on my job - and granted as a SM, I do get to focus on other areas as I need  to.  (If it is a big scenic show, I like to focus more on the scenic, and get my hands wet in that area.)

2180

The Hardline / Contract

« on: Apr 16, 2005, 07:26 pm »

Yep, schedule under the old contract until a new APPROVED contract book is issued.

All I know about the new contract is there is a salary freeze for the first year at least.  

I am eager to see the new contract.

2181

SMNetwork Archives / Salary

« on: Apr 06, 2005, 12:51 am »

I tend to shoot for something above minimum - in my mind 10-15% as the base start salary, unless there other circumstances.

I find many theatres expect SMs to work for Minimum since it is already higher (On most contracts) then the actors.

I will sometimes forgoe my % over minimum if I can get so something else in return (able to hire my own assistant, billing, extra time off, etc, etc).  It's all a crap shoot sometimes, but if they are interested they will entertain any offer.

2182

Stage Management: Plays & Musicals / responses

« on: Mar 01, 2005, 11:51 am »

10 out of 12 is a term for a rehearsal day, done during tech, where we tech for 10 hours out of 12 hours.

So, that is if you start tech at noon and midnight, and then take a 2 hour meal break.

Also, for those preparing for the real world, Equity does not allow you to videotape a run thru for a designer who is not present.  If you want to do it, you have to get a concession from Equity.

*** CONTRACTS ARE CHANGING TO NOW ALLOW THE VIDEO TAPING FOR THIS PURPOSE - yeah AEA for keeping up with technology ***

2183

Stage Management: Plays & Musicals / Thanks

« on: Feb 27, 2005, 10:40 am »

Yeah, these are all good ideas.

I think I am just batteling the "we have always done it this way" mentality at the theatre - and I am not sure it is the best idea.

I think we will just issue one set of run sheets for the show - get through it once and then update.

That should at least get us through the 10 out of 12's relatively sane.  (Although I think the ASM may go ahead and update HER run sheets with general notes - waiting to fill in specifics later.)

Thanks for the input.

2184

Stage Management: Plays & Musicals / ASM and Computer Backstage

« on: Feb 26, 2005, 04:47 pm »

You know one of my ASM's has done that, but my gut feeling is the ASM should always be watching what is going on onstage, and be ready to jump on instantly, everytime we hold.  I think working on the computer can be distracting - and still there is additional time afterwards because there is never enough time to update during tech.

But a good idea, keep them coming.

2185

Stage Management: Plays & Musicals / TECH: Runsheets (keeping them updated)

« on: Feb 26, 2005, 02:48 pm »

Okay, I am looking for some advice;  may I am getting old, and I can not for the life of me remember how else I ever did this.

Here is the current situation.  

Right now, I am working on some pretty big shows, technically very challanging.  As far as runsheets/runbook for the ASM/PA/Crew for the show, we create a document in rehearsal, and hand them out as we star tech.  

We tech during the day, and then, what has been the standard here, is the ASM collects the run sheets, and inputs/updates the run book before the next tech slot; sometimes meeting with the the run crew to go over the changes.

My problem with this is that is a such a time intensive process.  (sometimes takes 2 hours a day on a very complicated show)

How do other SMs work with their team and their crew to update runsheets throughtout tech, make sure they are updated and kept current?

Help?

2186

Stage Management: Plays & Musicals / Paper Tech vs Dry Tech vs Wet Tech

« on: Feb 26, 2005, 12:58 pm »

Yes, Paper tech is an odd thing - you don't do it outside the college or university setting all that often.  Not many designers in the LORT world have a lot a patience for this.

Now, I do sit down with my team and Paper Tech the show among my people - basically work on the run book - and that is done long before we step into the theatre.  So, basically I paper tech the show.  As far as putting cues into my book - I find that even just copying the rehearsal cues into my calling script is sometimes a waste of time, as when the whole gang gets together and starts to work on it together, everything changes - spacing, concepts, sound cues . . . etc.

Dry tch is also something that doesn't happen at too many LORT theatres, or at least none I have worked at.  Since the actors and SM are avaialable at the same time, most directors are loathed to loose actor time for crew to work on the show.  Sad really, since we could probably run the entire show in 8 hours, work out all the bugs and kinks, etc.  But most directors won't give up that stage time.  Again, so many things change with actors.

Now, oddly, when I was working on JANE EYRE at the La Jolla Playhouse, we did do a version of dry tech.  But this was a show that was huge.  (I think between the SM team we did about 20 model presentations of the show going through scene be scene with the model all the changes  . . . we got really good at it.)  The show was huge, the technology new, and the money being spent on it vast - it was worth the expense and time to make sure everyone was on the same page.

I think in a dream world, I would love to have all my designers see the show before tech, then sit down and discuss everything as we paper tech the show, give me and my crew 8 hours to dry tech the entire show, and the move into the space and work it all with the actors.  That, my friends, is a dream world.

2187

SMNetwork Archives / Manicure/Pedicures

« on: Feb 25, 2005, 09:09 am »

I am a big fan of these.

I think they make all the bad things in the world go away.

2188

Stage Management: Plays & Musicals / leaving the booth

« on: Feb 23, 2005, 10:38 pm »

I think, given time, and working in a variety of situations, you find that there are times to leave the booth.

When I was on deck for Les Miserables on Broadway, the calling SM, who was on deck, would step off deck to deal with issues in the office.  Granted, the other deck SM was on deck.

I just don't think it's all that sacred of a thing, as to make it a huge deal.  Yes, our job is to stay there, but we are human, working with humans, and some times things arise.

2189

SMNetwork Archives / Sins

« on: Feb 23, 2005, 11:31 am »

Yes, Darlene (HOW NICE TO SEE YOU AROUND) I wrote that.

I do not think a SM should hit or scream at an actor (I have witness both) - which is not cool.  I hated being the ASM going up to the actor afterwards saying "I am sorry, he shouldn't have done that."  (No, I actually sided with the SM - and there was physicality on both side . . . long story.  Booze involved, late night, people sleeping with each other, a vernal disease going around the cast.  I swear, I will write a book someday.)  

Such is life.

2190

Stage Management: Plays & Musicals / Leaving the Booth

« on: Feb 23, 2005, 11:29 am »

You know, sometimes you need to.

I have left the booth for the following reasons:

1)  Bathroom break during a very long scene.
2) Deal with a screaming actor (just stepped out of the booth)
3) Deal with a medical emergency.

In those cases I have called a deck SM/PA/Intern up to the booth, or in the case of an immediate emergency, asked a board operator to keep an eye on things.

I have also had board operators leave the booth due to emergencies, and I have jumped on the "GO" button, which is always fun.

In the end, given the right circumstances, you can find that even the most bizarre choices are the right ones.