Messages

1

The Hardline / There's always...

« on: Oct 12, 2005, 02:41 am »

...Tigger.

Yes, Tigger.  I had a production manager at my last job who had "themed days" for tech (Pirate Day, Funny Hat Day, Hawaiian Shirt Day, Backward Cap Day, and Pajama Day), a holdover from his Community Theatre roots.

And yes, on almost every Pajama Day he would pull out his Tigger suit.  I mean the full thing from the feet to the hood with ears.

Talk about a good way to laugh at your boss.  Of course it was kinda cute.

2

SMNetwork Archives / Simple Truth

« on: Oct 11, 2005, 02:35 pm »

Not sure who said it above, but I have to agree:  Anything you can do on a PC, you can do on a Mac.  Don't let anyone say any differently.

I was a Manager of a Tech Department before I switched to Stage Management later in life.  Everything is so interchangeable now, it doesn't seem to matter.

I use a 15" PowerBook and a Mac Mini and I love it.  My wife (also a Stage Manager) uses a Dell Laptop with Windows.  We work on shows together and really have no problems at all sharing paperwork and everything else we have to do.

It is really your personal preference and it really doesn't matter.

That being said, I LOVE MY MAC and think everyone should have one.

3

Tools of the Trade / Electronic Calling

« on: Oct 11, 2005, 02:30 pm »

I have to agree that using electronic scripts works beautifully.  I have worked out a system for myself that I use all the time.

I tried the word option for blocking, but I was concerned that with a simple failure of a Microsoft product, I could lose blocking (even backups don't work every few minutes).  I still use a paper script for blocking rehearsals.

However, I call my shows from a computer screen, in the following manner:

1.  I make a PDF of the electronic script as I go into a paper tech (dry tech) and use comments to place cues.  This was an electronic version of my old method of placing Post-It Arrows in a paper script.

2.  I use a page layout program (Adobe InDesign) to create a clean call script in full color.  This way I can paste in pages of scanned music as well, so that the script can flip back and forth from text to music as needed (obviously in musicals).

3.  I then export the script (after tech) to another PDF which I use to call the show.  This also affords me an opportunity to send my call script to the lighting and sound designers at the end of each Tech day so that they can make Q notes and know exactly what I have at the time.

4.  In show run, I actually call from a computer screen.  I have a printed copy of the call script in case of computer failure as well.  The method I use continues to evolve, but currently I do the following:  I use a Mac and have a control device that is generally used for video editing.  I have a flat panel monitor that is on a desk arm (like a work light), and I split the screen with two things.  On the left is the PDF of the call script, which I can use the wheel on to scroll through as I call.  On the right is a databse I have written that lets me take notes in show for the report and for actor maintenance notes.  I have programmed buttons on the control for various actor names and departments.  Once I finish a show, I can use the database to automatically generate the show report and eMails with the report and various notes to everyone concerned.

I created the system to save time for myself, and money for the theatre.  Not using paper and post-its, as well as multiple copies of the script, saves my employer about $150-$200 per tech (the savings is in supplies and overtime, I averaged it from 6 shows over a 1.5 year period).

I don't know that this system would work for everone, but it certainly works for me.  It also keeps my re-typing of notes into paperwork formats at a minimum of work time, allowing me to end my days on a shorter note.

If anyone wants more info on my convoluted system, let me know.  I'm happy to share.

4

The Hardline / Equity Weighed In Light

« on: Oct 11, 2005, 02:01 pm »

I can say that I have had multiple rulings on this exact issue regarding the LORT contract, Production Contract, and NEAT Contract.

I would love to know the name of the business rep that you talked to that stated it was ok to schedule staggered breaks, because according to everyone that I have heard from, it is incorrect.

The spirit of the rule (IN LORT ONLY) is this:  NO member of the Stage Management staff can be "directed" to absent themselves from rehearsal for the financial benefit of the theatre.  This is a straight overtime issue and work issue.

The central issue is that for financial benefit (read savings of overtime to the theatre) a theatre company could pressure an SM to take a meal break while rehearsal is going on.  The ASM takes rehearsal, but the SM is missing information that they will need later to maintain the show.  Same thing in reverse, an ASM has to be able to step in at any time should the SM not be able to make work (sick, etc.), and needs all the information.

I have had multiple rulings on this issue in LORT from San Francisco, Los Angeles, and New York business reps.  I have also spoken with a couple of  Equity LORT negotiators on this.  This particular sentence was worked into the LORT contract because it is rare to have an ASM in LORT, and they did not want someone besides the Equity Member determining what their job required of them.

The only way the ASM should NOT receive overtime in this instance, is if they are offered the meal break and the ASM opts to take it.

As I said, only true for LORT.  That is why it is done in NY all the time, I did it all the time under Production.