Author Topic: AEA Shared Productions  (Read 3809 times)

0 Members and 1 Guest are viewing this topic.

theatrechic

  • New to Town
  • **
  • Posts: 9
    • View Profile
  • Affiliations: AEA
  • Experience: Professional
AEA Shared Productions
« on: Jun 22, 2011, 01:52 pm »
Hi there.  I am writing because I have a question to ask and thought this would be a great place to get some feedback. 

I am about to begin an AEA show that is starting at one theatre and will then be travelling to my theatre.  We have 2 days of rehearsal to convert the production to our space before we get onstage and begin spacing/tech.

My question is since it is the same company that will be travelling to my theatre, do I need to do the meeting for Equity business again since they will have done it at the first theatre.  I have not done a co-production before and was unsure if the company would need to elect new deputies as well as vote on the lunch hour since it will be two days.  Thank you for your help with this. 

Also, since I am here what questions would you want to ask the SM for the show at the first theatre it is playing in.  I have some ideas already of what I want to know but I was wondering what other people would ask. 

Thanks for your input.    :D

MatthewShiner

  • Forum Moderators
  • *****
  • Posts: 2478
  • Gender: Male
    • View Profile
  • Affiliations: AEA, SMA
  • Current Gig: Freelance Stage Manager; Faculty for UMKC
  • Experience: Professional
Re: AEA Shared Productions
« Reply #1 on: Jun 22, 2011, 02:25 pm »
I would rehold the deputy election and the aea votes . . .

there are a wide variety of reasons, but, for example, at the first theatre, there may have been lots of restaurants near by for lunch, at the new theatre, there might not be . . . so they might want a longer lunch break.

Also, now that they know the show, they want may to vote different ways knowing their work load.

As far as what questions to ask, having done this before - on both sides - you are going to want to know everything, but try to learn as much as you can from paperwork, video recording, sheet music, script, etc, etc - before you launch into a hundred questions.  I always hated being asked stuff that was obviously outlined in paperwork.



- - - - - - - - - - - - - - - - - - -

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.

loebtmc

  • Forum Moderators
  • *****
  • Posts: 1574
    • View Profile
  • Affiliations: AEA, SAG, AFTRA, SMA
  • Current Gig: Caroling, caroling now we go — and looking for my next gig!
  • Experience: Professional
Re: AEA Shared Productions
« Reply #2 on: Jun 22, 2011, 03:36 pm »
Are you the only new/different person? If not, then you have to have the meeting anyway. If you are, I might suggest that you first of all get in touch w their deputy and get a sense of the show and the folks involved. And yes, it is a good idea in that brief window before first rehearsal to ask the cast if they want to reelect the deputy or change any other preexisting votes (you cd, of course, ck this privately via individual email and then have the AEA meeting if anyone answers yes to changes, and not worry abt it if all are ok).

In terms of what to ask their current SM: start with asking if there is anything you need to know - not just about the show itself and challenging sequences/problem areas, but also about the director, the producer, the cast or any established traditions/routines. Assume you are getting the SMs book, but just in case, check on that, and just plain ol' chat to get a sense of the show politics and running issues. And get a copy of and read the show many, many times before you walk into those two days of restaging/tech!

cschott

  • BTDT Editors
  • *****
  • Posts: 27
  • Gender: Female
    • View Profile
  • Affiliations: AEA, AGMA, SMA
  • Current Gig: adjunct SM faculty at Carnegie Mellon University
  • Experience: Professional
Re: AEA Shared Productions
« Reply #3 on: Jun 26, 2011, 08:03 am »
I was just in a similar situation, though the remount was not immediate - the last production had been a year earlier.  I, the SM, was the only new member of the team, so everyone else knew exactly what was going on, had insider jokes and names for scenes that weren't in the script, etc.  Fortunately it was a one-woman show, so it didn't turn out to be too bad, but I'm glad I did as much prepping as I did.

I'd suggest that you call the director and find out what challenges he/she sees in the remounting in the new space (for the show I did, they had always staged it in a proscenium house and the version I worked on was in a thrust).  Definitely get in touch with the SM and ask that same question, and if there's ANY way you can get hold of the prompt book, you should (AEA rules require a payment to the previous SM to send prompt books from one theatre to another, but on the show I did the director ended up bringing a copy with her.)

The AEA deputy form asks for the name of the theatre where the show is being performed, so I think you need to meet with the AEA cast and at least confirm that they want the same deputy and then have them all sign the sheet.  Make sure they all fill out all of the right paperwork too because so much of it is specific to the theatre company, not the show itself.  I was able to do a lot of this over the phone because of the 1-person show aspect ("So, are you OK with being your own deputy?")

The biggest thing for you is to learn that show forward and backward.  Read it as many times as you can stand during your prep time.  If you can get a copy of an archival video, do it. And watch it as many times as you can stand.  If you can't get the SM prompt book, you might be able to get some cues marked tentatively from the video.  I didn't get the old prompt book until the day the director arrived, which was the day of the first rehearsal, but having watched the video I had done a pretty good job of finding a lot of the cues and had them marked pretty close to their correct spot in my script already.

The hardest part is to assert yourself as SM of what probably is a smoothly running machine already without derailing that machine.  Step back when you need to to learn the show, but be sure to step in when needed to offer suggestions about your theatre, the secret tips and tricks about the space (the room is totally dark during a blackout, but if you get disoriented getting to places, look for the emergency exit signs to re-orient yourself) etc.

 

riotous