Messages

2206

The Hardline / my rules

« on: Sep 18, 2004, 12:09 pm »

I kind of have made my rules as follows:

1)  No billing for paperwork, scheduling, meetings.
2)  No overtime during tech week; unless we add rehearsal hours, dry tech time, anything above the maximum rehearsal/work hours.
3) If an actor is being paid overtime, I bill for overtime.
4) I try to schedule my hours and my asm hours to avoid overtime.  (That is if we have 15 hours of understudy rehearsal, I will take five hours off, try to give her five hours off.)
5) Never bill unless approved first.  (But, I usually negotiate five hours of over time per week pre-approved on big shows.)

2207

Stage Management: Plays & Musicals / how do you keep a stage manager in suspense

« on: Sep 10, 2004, 07:00 pm »

HEATH FINISH THE STORY!

2208

Stage Management: Plays & Musicals / Real Thing

« on: Sep 10, 2004, 06:59 pm »

I did this show last year at a regional theatre.  

1) House of Cards - we did a real house of cards.  We got really good as setting it up, and making it secure enough to handle enough moving around.  When the lights came up, he had a card in his hand, but never placed it.  When it was time for the door to slam, he droped the card, and hit the table with his knee.  Worked well every night.

2) Quick changes are a bear in the show, and we did the show on a turn table, which made it even harder.  You just have to factor this in with your scene changes and costume design. But, there is the clever use of music at the end of each scene which helps amazingly well.

3) I also had the joy and pleasure of being the offstage director's voice for the scene where the movie is shot.

4) our challange in the production was all those damn records, and marking them so one could be easily pulled out by the wife in second scene.

Best of luck; it's a great show.

2209

Stage Management: Plays & Musicals / copying scripts

« on: Aug 29, 2004, 03:16 am »

geeeeez . . . .

Okay, everytime I have discussed this with publishers, as long as your are buying a copy of the script to photocopy for personal use, then you are fine.  It's bad to buy one copy of a script for 12 people and photocopy, but it has always seemed okay to buy a copy, destory it to photocopy and use to put together one version of the run script.

2210

The Hardline / Joing Equity

« on: Aug 21, 2004, 12:52 pm »

First off, this is a business decision, and no one other then yourself will know all the ins and outs of your business life.  

The question to ask is do you think you can continue to work at the Equity level?  Do you think you are ready for the responsibilites of being an Equity SM?  Are you willing to leave behind some of the perks of working in non-AEA theatre?

For me the right time was during grad school.  I knew that I was going to do this professionally, I knew that this is what I was good at, and I had the opportunity to work on some top tier Regional shows as a non-equity assistant, and really got to understand the ins and outs of being an Equity Stage Manager.  I also spent several months observing other Equity stage managers from Broadway to Regional to Touring shows to make sure I knew what I was getting into.  I did not taking getting my card lightly.

For me, once I got my card, I have been able to work constantly.  But on the flip side, I am willing to move at the drop of a hat, or travel, and do really consider myself living at any giving place.  If you make the decision to make a living at stage management and only stage management, there are somethings you have to forgo (this is true for any committment to the arts.)  If you want to work at a certain level, or remain in your hometown, then you need to look honestly what that level pays and how often you will work, and adjust your lifestyle accordingly.  If yolu have a certain lifestyle you wish to support, then you might have to consider the possibility of moving around, or working a lot more then you feel comfortable.

Is there ever a perfect time to take a contract?  No.  You have to just weigh everything and take the leap when if feels right.

2211

SMNetwork Archives / SCHOOLS

« on: Jul 15, 2004, 11:49 pm »

Um, I am not sure a 42,000 education vs a free education means much to me, it kind of depends on the school, and also depends on how much you hustle.

To be honest, no one cares about my undergrad education at this point in my career.  Maybe you could save up, and spend it on grad school.

(Insert every discussion about grad school here.)

2212

SMNetwork Archives / SM Salary

« on: Jul 15, 2004, 01:13 pm »

Hmmmm.  I can say that it depends on what level you wish to work at.

I for example, have been working at the regional theatre level, working about 50 weeks a year.  For the past three years, I have made anywhere from $30,000 to $60,000 a year.

If you do broadway, you can imagine yourself making $60,000 - $100,000 a year.

If you tour on a production contract, your will make roughly the same.

If you do industirals as well, you could start making $500 - $2000 a day, but those jobs are few and far between.

Hope that helps.