EMC weeks?

[Debo123]

So I am sitting here with this form from the summer that I need to mail in in order to start my EMC program, and I have a question about it. It's not a big deal, but I'd love to get this form filled out and taken care of (it's been a "to do" for too long!)
So I ASMed an Eq SM at a theater on a LOA contract. The SM was (I believe) contracted for a preproduction week and 11 weeks of rehearsal/perf, so 12 weeks altogether. On my form though, they ask for the date of the first rehearsal and the closing date. So, do I get to count that week of pre production in my weeks and get 12, or do I just get the 11, same as actors?
Should I just write the first reh date, closing date, 12 under anticipated weeks and then note the week of preproduction underneath that line?
In his job offer, the producing director told me I would get 12 weeks, but this was their first time doing 11 weeks of rehearsal and I think normally they do 12 so it's possible he hadn't thought of that when he said 12. Also I think this is probably going to the New York office so I dont know how much attention they pay to processing all these forms which is why I ask about the best way to communicate this to them.

[hbelden]

In your situation I would e-mail the AEA person in charge of the EMC program - contact info on the AEA website.  I remember I got a quick, succinct, and definitive answer when I asked.

In my situation, on my EMC show, "first rehearsal" = first day of my contract.  I got one more EMC week than my fellow actors because I started with the prep week and they started with the rehearsal.

Here's another situation where the AEA language is obvious for actors (how many questions would there be if the form said "contract start date"?  The first rehearsal break would be twenty minutes long...) and they expect stage managers to understand their own situation.

[Debo123]

We're special like that, apparently.  :wink:
Thanks for the advice.

[VSM]

Heath ~

I speak with all due respect - if anyone feels the rulebook language is difficult to understand or interpret or simply confusing as hell, they can make a difference! The contract committees at the Union are made up of members just like you and me and are always looking for ways to improve the books.

Join a committee and let your voice be heard! Or if you choose otherwise, email me your recommendations and I will make sure they are given to the appropriate committee ( I sit on almost every one anyway).

As I said, WE ARE THE UNION.
God Bless us, every one...

[loebtmc]

and please clarify - did you work that pre-production week alongside the SM or not? ASMs often are started the same day as the actors, sometimes a half-week prior and sometimes (rarely) a full week. When did YOU actually start?

[Debo123]

I was contracted for that full week before actors arrived and I did work alongside the SM, who physically arrived at the theater after I did, in fact. (Can Equity SMs only be contracted for a half week of preproduction?) But I do believe he was contracted for that first week of preproduction where we did preproduction stuff.

Just because you worked at an AEA theatre doesn't mean you automatically qualify, either. Several years ago, AEA changed it so PAs at a LORT theatre I was working at only got work-weeks on a show they were on if there was already a PSM AND an ASM. If it was just the PSM and the PA, there were no weeks. Don't ask me why but that's what happened. Definitely check with AEA and also check with your business mgr at the theatre to make sure any weeks you were accruing were reported to AEA.

Well, the theater offered the program to actors and I know some actors there this summer entered the EMC program, so what's the difference there in terms of applying as an ASM?
I will look in to this on Tuesday as tomorrow is a crazy day of midterm stuff. I'll let you know what happens.

[hbelden]

I speak with all due respect - if anyone feels the rulebook language is difficult to understand or interpret or simply confusing as hell, they can make a difference!

No offense taken.  I actually really appreciate all the "For Stage Managers, see Stage Management, Page xx" cross references in all the rule books, for when a rule is different for SMs.  Those have really gotten a lot better in the last ten years, I think.  

My point was that I don't expect that same attention to be paid to each and every form AEA puts out - I actually think it could create more confusion, and what SM wants that?

[marcigee]

Well, the theater offered the program to actors and I know some actors there this summer entered the EMC program, so what's the difference there in terms of applying as an ASM?

It is different for a wanna-be actor and a wanna-be SM. It has to do with non-AEA ratios. Regional theaters have a minimum # of AEA contracts they need to fill, usually per show or, in some rare cases, per season. After that, they are allowed to round out their season with a certain # of non-AEA people. This is usually done for the big musical or the big play -- the first X number of actors, plus the 2 SMs, need to be AEA, the rest of the roles can be filled with non-AEA performers. These are usually the chorus or smaller roles, and the performers are allowed to get EMC credit. The theater cannot give up one of its required AEA SM slots to a non-AEA SM; therefore, unless both AEA SM slots are filled the PA cannot receive EMC credit.

Make sense? Yes. IN THEORY. Fair? Hell, no!

Most regional theaters have 2 AEA SMs on staff, and one of them is the ASM and one the PSM for one show, and they flip-flop roles for the next show. And while some theaters actually do require the SMs to do this all season, most only contract the 2nd AEA person to help out during the tech period, and some theaters fulfill the requirement by saying that there are 2 on staff and only contract them to be the PSMs on their respective shows -- in other words, one is only the PSM for shows 1,3,5 and one for 2,4,6. The PAs are only supposed to fill in the gaps but for the most part they end up doing the ASM's job. And because 2 AEA SMs are the minimum requirement for most productions, there's no way you can argue to AEA that the PA should get points, because what you're basically asking for is to give a union contract to a non-union employee, even if the theater is one of those that only pays lip service to the rule.

BE AWARE THAT MOST THEATER COMPANIES WILL NOT TELL THIS TO A PROSPECTIVE SM PA. You'll find out the hard way.

I was at one of those self-same theaters when I was getting my card, and when I found out I couldn't get EMC points as the ASM I asked to be put on the books as an understudy, which the theater agreed to, even though they'd sooner get a volunteer from the audience to step into a role before I'd ever do it. You can also ask them to put you under contract for the last week of employment. If they agree, they may ask you to repay the theater the extra $$ they'd spend on you, but voila, instant membership!