Author Topic: Breaking out of the rut, or how I learned to say no to the Bard  (Read 2722 times)

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MatthewShiner

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About 14 months ago, I made sort of a major decision for myself, and if you look over my resume you will understand why, no more classical work.  After 6 years as the resident PSM of a major classical theater regional theater, even moving to New York, I was know as that Shakespeare guy (I am not complaining, it didn't really hurt my career . . . as I landed several high profile Shakespeare shows).  But, I hated the fact that I was being typecast.   (It happens to a lot of people, I know people who are stuck in the PA-world in NYC, or pegged as the workshop/Off-Broadway world . . .)

One of the best things (and one of the few positive things) about freelance, is the ability to change up what you are working on.  [I firmly believe the number one career killer in Stage Management is boredom, but more on that later.]  And I really felt like I was typecast as a stage manager - and in New York, Shakespeare, although popular is not really the mainstay of most commercial work (that is living wage work in NYC).  So, I made the decision no more bard for a year.

Did it pay off?  I think it did - I was able to (by luck and good connections) go out of the country and work on a high end circus for five months, work on a new Disney musical at a top regional theater, work on revamping a new Family Musical at a regional theater, work on a brand new production of a classical musical theater piece (showing to the rights holder it can be done with less then 35 people and with a small pit size), a brand new theater piece directed by an acclaimed film director, and now, in the next six months, working on two new musicals.   

You might say this is tooting my horn a bit, but I wanted to share this fact that you can break out of the rut you find yourself in.  And, I really think it is important to show flexibility in the arenas you work in.  This career can sometimes be impossible to steer, especially when you are living gig to gig, and often you just have to take the next job, and sometimes the next job is a step up, sometimes a step down, but often it's a bit of reverse and repeat.    It's easy for a producer to look over your resume and pigeon hole you as a a "classical" SM, a "off-off Broadway" SM, a new play workshop SM.   
 
So, how do you do it?  I stopped doing what I had been doing.  I just simply turned down anything classical theater.  I took jobs outside my comfort zone.  I spent hours working on my pitch where my skill set could transfer to another skill set and sold myself like a madman to producers and general managers.  I was willing to work below what I normally make to gain that experience.  I put myself out there for workshops and readings. I reached out to the community of SM's I was working with and let them know of what I was up to . . . and they helped me find work.  I was willing to travel for work.  I opened myself up for the possibility of change.

Will this pay off in the long run?  We shall see - but the short term results are all positive.

Next goal - less travel, and more work in the city.  Get in with other theaters / general managers in town.   

Oh, and does this mean I am done with classical theater forever - not a chance . . . I miss it too much.  But, all in good time.
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Anything posted here as in my own personal opinion, and does not necessarily reflect the opinion of my employer - whomever they be at a given moment in time.

Michelle R. Wood

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Thanks for sharing. I'm contemplating a lot of potential changes in the next year, and it's encouraging to read about how you've opened up new opportunities for yourself. It's so difficult to say "No" to a gig, but it's a powerful tool (that's a lesson I've learned the hard way). Best of wishes on your next show.
"Genius is 1% inspiration and 99% perspiration." -- Thomas Edison (Harper's Magazine, 1932)

SMMeade

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Matthew- I think we talked about this when I saw you a few weeks ago. I've been trying to avoid getting pigeon-holed in PAland/Off-off-broadway, so I've been applying for a lot of fellowships and things in regional theaters. I'm Venue Directing Fringe again this summer (whee!) but after that, I hope I'm able to get outside of my small NYC bubble and have some new experiences.

 

riotous