Recent Posts

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The Hardline / SPT contract update
« Last post by loebtmc on Mar 25, 2017, 11:45 pm »
Hey guys  

There is a survey out for all y'all who have worked the SPT contract. Please give it a review, then fill in any concerns, or things you'd love to see included, before its next update (which is coming up soon).

There are those who still have issues with the vacation restrictions. And some folks have mentioned a couple of cool things they'd love to see added or adjusted. So send in your ideas!

The rule book is available in the member portal.
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I know that shadowing stage managers is a frequent topic of discussion around here. This article has some great advice about how to prepare for a great learning experience while shadowing a stage manager.

http://stage-directions.com/current-issue/9328-clandestine-learning.html
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Stage Management: Other / Re: Handling Assault in the Company
« Last post by megf on Mar 22, 2017, 12:57 pm »
Sexual assault and harassment are more common than anyone wants to believe. Given that Stage Management is generally not empowered to hire or fire employees, and in many cases is simply an instrument of upper management in imposing any discipline, I would respond that the best course of action for Stage Management is to proceed with a super-abundance of caution. Do not, under any circumstances, give legal or pseudo-legal advice to any of the involved parties. Do not speculate publicly or in print on the possible outcomes of the assault, the legal or HR discipline that is pursued, or the emotional status of anyone. Do not be alone in a room with company members when the topic comes up--even if that means walking out of the room. Finally, because daily show/rehearsal reports are often how creative personnel learn about the happenings of a company (especially on tour), do not use this forum to announce any past, current, or potential future legal happenings related to the case. Indicate only show-related matters: "XYZ was released from contract," not "XYZ released from contract for sexual assault/arrest/unable to make bail." It's funny (kinda) when someone is late because they were caught speeding in their ancient car, and it's sad when a person leaves a show due to illness, but neither of these things belong in the report any more than an assault or an arrest.

After all of that "not doing," if I were the SM, I would sit down with the HR team, company management, and housing folks, and do a thorough review of the housing contracts and company policies governing safety, security, roommate behavior and assignments, and keys/duplicate keys.
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Introductions / Re: Greetings from Philly
« Last post by Maribeth on Mar 21, 2017, 10:57 am »
Welcome!
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Introductions / Re: Glad to be here
« Last post by Maribeth on Mar 21, 2017, 10:57 am »
Welcome aboard! Be sure to check out the Plays and Musicals board- there are lots of great threads about working on musicals.
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Introductions / Re: an international SM
« Last post by Maribeth on Mar 21, 2017, 10:56 am »
Welcome! Most of the SMs on this forum are from the US- we'd love to hear how stage managers work internationally. What have you found to be different working in Asia vs. England?
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The Green Room / Re: Directors Giving Notes after Opening
« Last post by RuthNY on Mar 21, 2017, 10:16 am »
It's a community theatre and they each have their own culture and rules. Others have already posted about what would be Equity rules, practices and etiquette. I would just like to offer that if the Board really has this house rule for their shows, you choices are:

1. Meet with the Board and convince them they are wrong. Maybe you can get them to change their policy.
2. Give your notes to the SM. Let them communicate all notes to the cast and report back to you.
3. Continue to do what you are doing, knowing that it will cause bad feelings with the Board, and make your peace with the fact that they may not ask you to direct there again.

Those are your three choices as I see them.  No union rules cover this theatre and the Board is free to run things as they see fit.

I am directing a show in Camden, NJ that is community theatre, even though they bill themselves as professional.  It is non Equity and basically community theatre actors.

We opened 2 weeks ago and attended the show this past Friday.  One of the actors has altered her costume and I contacted the stage manager to let her know to tell the actor it needs to be readded.

A Board rep informed me that I am not allowed to give notes or talk to the cast after we opened.

This was not agreed on and not in contract with the company.

I have been looking on line to see if there are any rules pertaining to this - even in actors Equity.  Am I correct that as the shows director that when there are issues such as this, that there are no rules about this.

Thanks
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Stage Management: Other / Handling Assault in the Company
« Last post by BayAreaSM on Mar 20, 2017, 05:42 pm »

For the majority of ballet companies, the artists are contracted season long. Friendships naturally happen, romances blossom and there are cliques. For any of us who have worked in ballet, we've seen it all. But what happens when couples break up, cliques get violent, dancers show up drunk - or worse? I've been around the break ups, the violence, drunk and on drugs, but I've never dealt with this:

Last week, a male member of a ballet company sexually assaulted a female co-worker. He texted her repeatedly to be allowed to come into her apartment. She said no and went to sleep. He texted her roommate, also a coworker, and told her that he couldn't reach the other girl, but she had said he could come over. The roommate lets him in and tells him to sleep on the couch, as it was 4:30am. Instead, the man goes into the first girl's room, sees her in bed and starts to rape her. She wakes up during the act and tells him to stop, which he does and he leaves. She then goes to the police with her story and he gets arrested. When questioned by police, he does not deny the assault.


When this happened, the company was about to go on tour. The male dancer is in jail, so he's removed from the company. But he's plastered on the local papers for the tour, and the show opens the evening after the assault. My mind is racing with what that company is going through on several levels. I feel awful for the female dancer. She's been violated, in a place she felt safe, by someone she's known for 7 months, someone she sees every day at work. The male dancer also has a girlfriend in the company, who must have mixed feelings on this. The company performed the night of the assault and performed the following night. Granted, in ballet, there are several casts, so casting has obviously been worked out as performances continued.


I can only assume the male dancer will be let go, as I can't see how he could be brought back into the company. I've noticed nothing on Facebook on the male dancer's page nor the company's page. No mention of cast changes either. (I used to work with this dancer at a different company.) The company has obviously done very well in keeping things under wraps, but I'm curious as to what other stage managers would do in this situation.


Like I said, I've dealt with violence, drugs and drinking - the drug use during performances was handled with firing the dancer immediately after the curtain came down, even though we were mid-run. Violence was handled with verbal warnings and notes in HR files. Drinking cases resulted in write-ups that just about went no where. When you don't have a large number of dancers in your company, it's hard to suspend someone or fire them, because you can barely make a show happen without them.


Knowing that upper management/artistic staff/HR are doing the heavy lifting in this situation, how do you, as the Stage Manager, handle this?
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The Hardline / Re: Dear Abby: When/If to leave a show
« Last post by DeeCap on Mar 20, 2017, 04:04 pm »
I agree. Get your job description in writing. If they balk, then bail.
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Introductions / an international SM
« Last post by Goeun on Mar 20, 2017, 03:55 pm »
Hello Everyone.
I'm a stage manager from S. Korea. It seems Korean SMs are not here.
I did many relatable positions(props, pyro, mx, deck lx ect. ) since I was 21. then I went to England to do my MA.
I did the musical 'Cats' international tour in S. Korea, Singapore and Macau.
And for the last few years, I am mostly working for new musicals in Korea and Japan.
I hope I could get more experience from different countries and performances.
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