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Tools of the Trade / Re: Kit Containment
« Last post by Tempest on Sep 21, 2018, 10:35 am »
     After years of fussing with tackle-boxes and the like, and a few months of fruitless search for something that was exactly what I wanted, I finally just built my own kit. I put a little hardware drawer thing on one end (for all the little bits & bobs), three large pockets on the other end for larger objects (first aid kit, spare T shirts, pencil bags etc.), and elastic down both sides to hold long thin objects (scale rule, three hole punch, as shown).
     It's a smidge heavy, but holds exactly what I need in ways that are super easy to access. It's even broad enough to tuck my three ring binders on top, between the carry straps, when moving to different spaces.
     I heartily recommend sitting down and thinking about exactly how you want to use your kit, and trying to find a container that fits those qualifications. And if you can't find it, build it! (or make friendly with your TD and beg them to build it!)
Tools of the Trade / Kit Containment
« Last post by AndyS on Sep 20, 2018, 10:05 pm »
What do you all use to carry your kit gear?

I've been using an old-lady grocery cart with my various boxes (sewing kit, tool kit, med kit, stationary kit, &c.) stacked inside, but I have friends who use fishing tackle boxes, construction-site toolboxes, hotel housekeeping carts, &c., and recently I've been very interested in those larger rolling cosmetic train cases.
Students and Novice Stage Managers / Re: Line Runs
« Last post by Arturo1223 on Sep 18, 2018, 06:16 pm »
Any advice for running a rehearsal to help actors learn lines during the first week?

Usually in a professional production that wouldn't be an issue in terms of bulk memorizing of lines. The most common way of assisting the cast, in terms of a play, perfect their memorization of the script would be to make line notes and send them individually to each actor each day. In an academic setting,  if it is a high school for example the first off-book date could be just like a read through without scripts in everyone's hands and you conduct line notes off of that as a preliminary.
Employment / Re: Prospects of working toward equity at age 23
« Last post by JJ Hersh on Sep 16, 2018, 02:34 pm »

Finding paid nonequity work is definitely rough.

A few routes I know of:
-State manage at an amusement park. The expectations and responsibilities are pretty different, but the pay is good and I found it very enjoyable during the time that I did it, plus it means dependable income. That being said, a lot of that work is seasonal, so you'd still need other gigs to fill the gaps during off-season.
-Even if you're not equity, there are still work options for non-equity stage manager as a PA in equity houses. Usually the pay is pretty good and you can get a fair amount of responsibility.
-Cruides are usually non-equity since they are on international waters. Pay is good, and often housing and food are included, so you can save up a lot of money. Same goes for teaching theater in summer camps, which can often include elements of state management.

Trying to do a day job while stage managing for little to no pay is definitely rough. I think you're making the right call steering clear of that route.
The Green Room / Re: Silly things done when we're not at our best
« Last post by RuthNY on Sep 15, 2018, 09:45 am »
Funny! I also can't help keeping track of how many times in one show I say "Go" on or just after the scripted word "go."  In my current show it's twice.

(I always enjoy when my cue times w the word "go in the script..." tho it always takes a moment for board ops to hear me as opposed to the actor)
The Green Room / Re: Silly things done when we're not at our best
« Last post by loebtmc on Sep 15, 2018, 12:38 am »
(I always enjoy when my cue times w the word "go in the script..." tho it always takes a moment for board ops to hear me as opposed to the actor)
Employment / Re: Prospects of working toward equity at age 23
« Last post by ladynoirr on Sep 14, 2018, 09:38 pm »
Congratulations on your fellowship! I started to apply for that one but I decided to apply for Steppenwolf instead, so that's where I'll be this season. ;)

This topic sparked my interest because I'm also interested in going the Equity route. I'm just unsure of what method I want to take in getting there. With my experience and I how I've been seeing my career go thus far, I think I could get my card pretty quickly either way. I'm just not sure WHEN I wanna to it. I still wanna go to school and I wanna get experience in tours and opera. It's just finding a timeline in which to do it, that is the problem.

Another issue I'm running into is finding non-eq sm positions that actually pay a living way. (Which is why I'm running towards a union.) I can't imagine working a show for 2 months with 4 shows a week and only getting $350 for the full run. So, if anyone has advice on how to figure that out, please let me know! (That may also belong in a different thread, I haven't searched it.)
Stage Management: Other / Re: Opera score: printing and binding
« Last post by NJ.JerrySmith on Sep 14, 2018, 08:56 pm »
Hi TarytheA,
       I professionally live 100% in the opera world so I'll give my 2 cents here. As both a PSM and ASM I double side 3-hole punch all my scores. I like the flexibility and ability to add or remove pages that you don't get with the spiral binding.

       When I'm a PSM I'll double side my blocking pages and just insert them into the score and deal with the blocking page being on whatever side of the binder it ends up on. By the time calling comes, I'm not looking at the blocking much anyways and sometimes remove those pages for fast sections. If you have the pleasure of working with an AD, maintaining the artistic integrity is their task, so missing some blocking isn't the end of the world.

       As an ASM, no slip page. Blocking isn't their domain, and with all the traveling you have to do as an ASM, less weight is better.

       I've also seen an ARC notebook used which looks to provide a happy medium with being able to add pages but having the portability of comb binding. Haven't looked into this with any depth though.

       That's what I got, happy to answer any more quesitions.

Stage Management: Other / Opera score: printing and binding
« Last post by TarytheA on Sep 14, 2018, 10:22 am »
I found and fell in love with stage managing dance shows about 5 years ago and have have almost exclusively worked on (usually modern) dance since then. Next spring, however, I am contracted to do an opera project at a nearby university. Part of a Kurt Weill festival, the proscenium theatre will have Street Scenes and the black box will have Mahagonny: Songspiel and Zaubernacht with an intermission between the two. I'm only working on the two shows in the black box. Zaubernacht will have a fair amount of modern dance, which I'm comfortable with. But Mahagonny is making me a little nervous. I'm also REALLY excited to attempt a crossover and try something new!

I have lots of questions. But specifically right now, I'm wondering about printing and binding my scores. The PM has offered to get them to me now, even though rehearsals don't start until early February, so that I can start studying them. She asked if I wanted single-sided or double-sided. My instinct is double-sided, so I can see more at a time without flipping the page, but is there any reason single-sided might be better? Might I need the blank space across from a score page that I'll regret not having later? Do you put blocking right in your score or use separate pages? I also have read on here that sometimes people like to have their scores spiral-bound instead of hole-punched. I like the idea of being able to carry it around easily. Does that cause any issues with the flags/tabs sticking out, if they're not protected by a 3-ring binder?

I'm also open to other tips and suggestions. I have been reading threads here about opera to collect the scattered wisdom, and looking at uploaded paperwork. But I would love to hear more advice and would LOVE to see more paperwork examples, especially calling scores - I didn't see any in the uploaded forms.

Thank you!
The Green Room / Re: Silly things done when we're not at our best
« Last post by TarytheA on Sep 14, 2018, 09:11 am »
Oh I've done several things over the years! A couple that come to mind:

I took over the run of a show at a large theatre and wanted to do everything correctly and make a good impression, of course. I got the list of everyone who needed to be copied on the weekly schedule, and made a draft of the email ahead of time so I could send it out quickly when the time came. I put everyone's email addresses into the bcc line, just to be on the safe side of courteous. When the day came, I was sick with a sore throat and awake at 4am - thinking that was a great time to get some work done since I was awake anyway, I finished the email and got ready to send it. I copied and then pasted everyone's email addresses INTO THE SUBJECT LINE and hit send. Since I had ACTUALLY put them in the bcc line previously, which I forgot I had done, it actually sent. I was wholly mortified. Not only were all the email addresses NOT kept private (which I wasn't sure was necessary but doing to be safe), I looked completely idiotic. Luckily the few who did respond to my apology were gracious about it and if anyone truly thought I was dumb, they didn't say anything. :) Never, ever send emails at 4am. :o

Recently, I SM'd a dance showcase. One of the cues was supposed to anticipate when the dancers threw open some curtains, but since I couldn't see them, we settled on a cue word in the sound clip "that's a conversation that NObody wants to have." The cue was "have" because they were going to throw open the curtains immediately after. One performance they threw open the curtain a few words early. I asked the choreographer about it afterward, and he told me that they had changed their cue word. My new cue was "NObody." (Don't you love when choreography changes but nobody thinks to tell the SM?) And it was a cue that, in tech, the director of the showcase had made a big deal about. So the next night I listened very carefully for the word "NObody" but I was so tense and focused on my cue word that I said, "Lights 74..." and then awkwardly yelled, "NO!" instead of GO. The cue was perfect to the audience because the board op took it but she laughed and laughed at me.  ;D
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