Messages

1

The Hardline / Re: Dear Abby: AEA issues with show hand-off

« on: Feb 21, 2009, 10:20 pm »

It's not an AEA rule, it's a law: the Taft-Hartley Act.  One time only, you can work on a union (AEA, SAG, AGMA, etc) contract up to 30 days, and not join.

2

Stage Management: Plays & Musicals / Re: Help! Beastly show and actor!!!

« on: Jul 26, 2008, 03:53 pm »

Common courtesy is the LEAST of what should be expected from everyone.  Remember, if the Ridiculous Beast were an Equity member, she would be violating several tenants of the Responsibilities of an Actor in our kits:  to be on time, to notify the SM before half hour about lateness and absence, to cooperate with the Stage Manager, and it asks that actors "maintain a professional attitude at all times".  Gotracigo would have grounds to press charges on several fronts. 

When the Ridiculous Beast chased Gotracigo, it indicated the actress is unstable.  Gotracigo is not a catalyst or an accessory to the crazy person acting crazy, she is a victim.  It's not her job to be a victim, that's not the reason she's paid more than everyone else in the room (that has to do with hours), and she cannot be responsible for another adult's outrageous behavior.  She did apologize that the actor felt she was being condescending, but it didn't diffuse the situation, although it was the best way to handle it.  To simply say "it's my fault" when an actor is being unreasonable is a very poor choice.  Would the SM look like she had command of the situation?  Would the artistic staff believe the SM could maintain the integrity of the show? 

yes, and we work in ridiculous business.  i know directors, top tier, huge name directors, who can only yell a note during tech. 

what am i going to do, say no to working with them.

hardly.

AGAIN . . . all bringing it back to style . . . you either put up with it or walk away from it.  It's your choice.

The industry is changing the way it handles out-of-control artists.  I know of an opera director and a theatre director who were both put on hiatus from certain houses after displays of unprofessionalism.  In opera, there have been two or three high profile firings of misbehaving singers in as many years.  If even management has been converted to seeing tantrums as unacceptable, surely WE should see that too.

And, there is something that can be done.  If a director is being abusive, and management will not handle it, call the union.  My friend has 20 years experience, 8 years at a hugely prestigious house, and was in that very situation.  The union's lawyers sent a letter to management compelling them to act on her behalf.  The director was sanctioned by management, and the SM still works for the company.

3

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 17, 2008, 11:58 pm »

Yes, the principle does apply that accepting non-union work in sister-union jurisdictions is generally not good.  And, I agree that union work is best.  However, originally, we were talking about whether Equity would allow a member-SM to do a musical in a non-union opera house... for instance, someplace like Ash Lawn Opera Festival, a non-union opera house which is doing both CARMEN and MY FAIR LADY this summer.   

Equity would not have jurisdiction in such a case; it would fall under AGMA.  Using Article X - Discipline of Equity's constitution, which defines offenses worthy of disciplinary action, one could argue that Equity could not stop a member working non-union in another juridiction IF the sister-union that HAS jurisdiction gives permission.  See below (underlining is mine).

Section 1 (f) It shall be conduct unbecoming a member to work in the jurisdiction of any other branch of the Associated Actors and Artistes of America for an employer whose employees are represented by the other branch, unless the member seeking employment with the employer first inquires of the other branch to ascertain whether the employer is a signatory to a collective bargaining agreement with the other branch. It shall be conduct unbecoming a member if the member accepts employment with an employer in the jurisdiction of another branch after having been advised that:

(1) The employer has refused to bargain in good faith for a collective bargaining agreement with the other branch and the other branch has declared the employer unfair or has otherwise directed its members not to work for the employer; or

(2) If the employees of the employer are engaged in a primary strike ratified or approved by the other branch."

Nowhere does it say the employer has to HAVE a contract with the sister-union.  I would point out that since Ash Lawn hires AGMA members, their "employees are represented by the other branch" even though the employees aren't on a union contract. 

4

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 15, 2008, 01:35 am »

As an AEA member, I feel a moral obligation to reject theatrical employment in non-union houses, not because of the AFL-CIO rule, but based on AEA's mission and the duty of its members to further it.  If the musical was at an AGMA house, as sometimes happens, that would be fine.

As for AGMA:  "Unlike all other talent unions, AGMA recognizes that singers should explore all possible sources of employment and, consequently, AGMA has no rules prohibiting its members from taking any job, union or non-union, " Alan Gordon, National Executive Director of AGMA.  This is no secret, so AGMA members apparently aren't bound by that particular AFL-CIO rule.  In which case, there wouldn't be a moral obligation for them to abide by it. 

Also, what about union SMs who act in non-union film?  Or, union actors who dance in amateur Nutcrackers?  It seems like the AFL-CIO rule is more of a guideline...

5

The Hardline / Re: SMA

« on: Jan 19, 2008, 06:02 pm »

It's totally worth it.  Do it. 

Benefits:  They have great job postings from all over the country.  The postings come to you via email, instead of you having to search.  They're mostly theatre gigs (though opera and other gigs pop up too), and cover a wide range of experience levels from entry positions to union SM jobs.  Then, there's Operation Observation, where you can observe a stage manager on a production; it's fun, and a great networking tool.  You also get access to the contact sheet of members (many SMs have links to their resumes), and emails about SM Drink Nights and related social events.

Costs:  It's only $30 for a year at the Associate level.  In contrast, ArtSearch, which is postings for a variety of arts-related jobs/internships, costs $40 for 6 months of online access, $60 for the full year, and $75 if you want the print version as well. 

In the beginning, I had full-year subscriptions to both, but let ArtSearch lapse a few years back, and haven't missed it. 

6

The Hardline / Re: Cleaning the greenroom

« on: Dec 31, 2007, 03:36 pm »

Justin would NOT be within his rights to ask the theatre to create a separate-from-AEA-contract and then receive a weekly sum for cleaning.  As a union member in a union house on a union contract, AEA has jursdition over ALL Justin's employment at that theatre, and janitorial/custodial work is prohibited.  Period. 

When an SM takes on approved additional duties, then yes, Equity requires a separate-from-Equity contract, and also a copy of that contract.  To take on a PROHIBITED duty, the SM would either not have a separate contract, or not submit the separate contact.  Either puts the SM in violation of the rule (see below) AND going behind Equity's back to hide it.  This would leave the SM vulnerable to punitive action by Equity.

The language for negotiable additional duties and prohibited duties is separate and clear. 

Under LORT "63(H)(7) The following activities are prohibited and a Stage Manager or Assistant Stage Manager shall not accept responsibility for the following:...(d) Doing building maintenance, janitorial, custodial or house management work."

The language for acceptable additional duties:  "Stage Managers and Assistant Stage Managers shall not be required to perform
the following, unless they are contracted and compensated separately from the Equity contract; if a separate, written contract is made, a copy of such contract shall be forwarded to Equity".  Then, each acceptable duty is listed, but janitorial/custodial work is not among them.

7

The Hardline / Re: Cleaning the greenroom

« on: Dec 30, 2007, 02:40 pm »

Yes, you will be in contract violation if you become the greenroom janitor and/or exterminator.  You are PROHIBITED from accepting these responsibilities.  They are not optional and negotiable "additional duties". 

If you have trouble saying no, call your rep and get some advice and support.

Also, the bug problem is probably in conflict with Safe and Sanitary, and the rep could attack it from that angle instead.

8

The Hardline / Re: A dance gig vs. Equity

« on: Nov 13, 2007, 12:35 pm »

We get that information from our AGMA constitution.  There is nothing that specifically prohibits AGMA members from working at non-AGMA houses.  Nor is there a system to penalize those that take work at a non-AGMA house.  Nor is there any anecdotal evidence that there has ever been a stage manager or performer penalized for taking non-AGMA dance or opera work.  In fact, it is VERY common practice to do so. 

Why don't they prohibit it?  Probably because there are not anywhere near enough AGMA organized houses to support its membership.  Once there are, the union may change its policy.

9

Students and Novice Stage Managers / Open Call Auditions in NEW YORK!!?!?!

« on: Mar 18, 2006, 12:46 pm »

Non-union open call?  Easy gig.  

Be there 30 min early.  Set up chairs & a table.  Bring a clipboard, paper, pencils, a stapler, a fat sharpie, scotch tape, and your stopwatch (just in case).  You might need to make some ghetto directional signs:  So&So Auditions -- 3rd Floor, Studio A.

Ask the director/casting folks if they want one and a time or more, and if they'd like you to check with them before sending the next.

Get them to sign in with you as they show up.  Maintain order and have the next actor(s) ready to go.  

Know where the water fountain and restrooms are located.

10

The Hardline / Should I start EMC?

« on: Mar 18, 2006, 11:52 am »

JOIN THE PROGRAM.  Here's why:

It will probably take you 2 years to get all of you points, anyway.  Two years of experience in Equity houses is plenty.  You'll be ready to join and start ASMing... or PSMing on the lower contracts.

"Upon completion of the program, your eligibility to join Equity lasts for five years." -- AEA website.  So, once you have all your points (two years from now), you'll still have another FIVE YEARS to join.  Think you'll be ready seven years from now???

"During that time [the five years after completion], if you are engaged to work at an Equity theatre, you must be signed to an Equity contract." -- AEA website.  NOT TRUE.  Obviously, you can't work as a non-AEA stage manager in an Equity house, but you can continue to PA there, or work in administration, or work in production management, or intern somewhere else, if you choose.  You're not a member of Equity, so, legally, they can't tell you what to do.  

If anyone's heard of Equity preventing an EMC member from taking work after completion of the 50 points, but before officially joining Equity, please tell the story.