Messages

1006

The Hardline / Re: AEA MAternity Leave

« on: Aug 25, 2011, 03:41 am »

Part of the battle is changing the category and making pregnancy NOT an illness.

And I am sorry that I compared it to that  . . .

Also part of this to factor in, is how much time do women take off  . . . my mom's last child, I went to school, and came home and my mom was cooking dinner, cleaning the house, and viola, I had a new brother.  There isn't a set time for just having a child.

1007

The Hardline / Re: AEA MAternity Leave

« on: Aug 25, 2011, 03:04 am »

I think part of the issue with the SPT contract's wording is that SPT shows tend to run    shorter, be produced on a smaller budget, and by companies who may not have the fiscal or human resources to cover an outage of up to 8 weeks.  And although I think the wording might eventually end up in all contracts, I am sure the producers push back a bit.  (Also, is an AEA ASM required on SPT?)

And yes, I think if a PRODUCER was on the hook for paying for leave, I would be very concerned that producers would, all things being equal, hire the man over the woman (unless they paid for all FMLA leave . . . ).

If we just talking about time off . . . and someone holding your position, I doubt many producers or general managers who balk at this (unless they were unhappy with your work), regardless of the specific wording of the contact..  But, the FMLA, which covers this, has specific limitations.  Not all theatres, including SPT, have 50 full time employees - hell, some LORT Theatres don't have 50 employees - and few commercial shows may have 50 full time employees (Well, maybe the musicals . . . )

I don't know of anyone who was laid off of an AEA show contract because of pregnancy . . . I think maybe it's not a huge issues, because it's not an huge issues.

If we are talking about paid time off, I am unsure WHO would paid for this?

The employer who's contract you are currently on, that seems like a little bit of pregnancy roulette . . . if you work 6 weeks, here, 9 weeks there, 4 weeks there, and then start a 10 week contract, and there is where you take the time off, the forth theatre would need to pay for the leave?  Seems awfully odd.

If we think the UNION should pay for it . . . I am unsure how that would work . . . I doubt ANY union pays this directly, it's always the employer - and that issue see the above.  If it was the union, would there be a set amount they paid, based on your past weekly salary?  BUT, I would argue THAT'S not the purpose of my union. Again, if you choose to be pregnant, then you should incur those costs.    If I take time off from "Work" to have a surgery, I wouldn't expect my union to pay the salary I would have received - if the surgery was medical necessary or not.  I would actually be against the union paying out direct benefits.

As pointed out, if a woman wants that pay, it would have to be a combination of paid time off and vacation, just like what a man who have to do if they had a medical issue or wanted to take off for FMLA.  (Remember, even if a man is sick for a LEGITIMATE reason on a LORT contract, they can be released after two weeks . . .

(E)Should the illness of an Actor continue for two weeks or more after the Actor’s sick leave is exhausted, Equity shall, at the request of the Theatre, have full power to modify or terminate the Actor’s contract upon such terms as it may consider just, if it shall be satisfied that it will be necessary for the Theatre to employ a successor.)

We are just a different business.

1008

The Hardline / Re: AEA MAternity Leave

« on: Aug 24, 2011, 03:08 pm »

The difference between the other gigs is they are full time employment, and not contract work. 

Also, you are not quite as replaceable as the check out lady at the grocery store, the bank teller, the school teacher, the nurse, the secretary, the McDonald's fry cooker  . . . BUT the brain surgeon is most likely free-lance (or running their own business) as well, if she isn't doing brain surgeries, she is not being paid. 

You know this industry is different.  For example, in casting, we all the time based on gender, sexuality, color, race, etc, etc . . . things that VERBOTTEN in the "real world". 

Are you looking for paid time off?  Many employers now don't give paid time off . . . you may have to check if your state allows short term disability for pregnancy.  It would be sort of silly for the producer to "pay" for you on contract to be on maternity leave - if so, every female SM who found out they were pregnant would sign a contract. 

As a freelancer - you need to plan, save, and figure these out into your business plan . . . I will work up to this point, and then be unemployed form here on out . . . . and save for it.  (Like you do as a freelancer for any sort of vacation time).

You should note the LORT contract says the following . . .

(c) Pregnancy. A Stage Manager and/or Assistant Stage Manager shall not be terminated because of pregnancy during the term of her contract. The Stage Manager and/or Assistant Stage Manager shall remain on contract without pay or accrual of benefits until she is ready to return to work. The Stage Manager and/or Assistant Stage Manager must give the Theatre the same amount of notice of her intent to return as the notice of termination contained in the replacement Stage Manager’s or Assistant Stage Manager’s contract. 

I sense you are very angry about this issue . . . . yes of course you allowed to have a baby, but it seems like you want someone to pay for it . . . and that's just not set up in our union.  We tend to work for a variety of employers, contract work, two weeks, eight weeks there, 5 years here.

Again, since you have such a long relationship with the theater company, maybe they can do their typical employee issue, but most theaters (like most employeers) often do not pay for maternity leave - you get the leave, but not pay.

1009

The Hardline / Re: Going Equity 'Young'

« on: Aug 24, 2011, 01:26 pm »

I would agree, the saturating of the industry, especially with young ASMs with their card is problematic to the industry.

1010

The Hardline / Re: AEA MAternity Leave

« on: Aug 24, 2011, 12:02 pm »

No, there is no maternity leave.  It's complicated, not really fair, but it's one of the things about our business.

1) The union is mostly for actors (let's admit it).  A pregnant Juliet is not going to cut it.  Actress are released from contracts all the time due to pregnancies, and probably rightfully so given the roles they are playing.  (Some mutually agreed upon, some fired.  I have even see a non-pregnancy clause in a contract before.)  Its one of the things in the business we have to realize . . . it's not like being an accountant.

2) Second, we are contract employees . . . even if you have been with a company for a long time, it is usually a year by year, if you are going to miss 6 weeks out of a 40 week contract, that's a long time - if it's just off one show, that could be the entire tech process and run.  And, to be honest, being pregnant and teching can have complications itself, especially during the end of 3rd term. 

3) Ultimately, because we are contract employees, we have signed a contract to fulfill duties given the time period, if you are looking to take time off . . . then you are breaking contract - regardless of the reason.  (think if all you had to do is say "hey I am preggers, let me out of a contract scott-free . . . )

4) There is an additional expense in this - think that if you are going to go out, the employer needs to spend a weeks salary (at least) to train an overlapping SM. Producers are always trying to avoid the extra cost.  Ultimately, it's the cost of doing business and producers have bear it.

5) You do have the family leave law to back you up - but unfortunately, this law only applies to employers with 50 or more employees and, in order to qualify, employees must have worked 1,250 hours in the previous 12-month period.  (which for non-hourly employees this might be hard to track).  AND, most of the time, the fact we are contract employees screws this up.  And again, we are talking about non-paid time off (use your sick days and vacation, and after that . . . )  But, we are bound by the contract if we out XX amount of time, we can be replaced.

Most of the time, on non-long running shows, what I have seen happen, is the mother-to-be is let out of contract without penalty - mutual agree to terminate the contract, and a new contract is drawn up with a start date in the future date.  Given you work with the same theater, by all means discuss this with your AEA business rep and know your union rights - but go to the GM and discuss what they are willing.

On more long running shows, I have seen it treated as leave of absence  - with a short term contract filling in for the departure SM.

1011

The Hardline / Changing Economics of the Road

« on: Aug 23, 2011, 08:50 pm »

So, as many people know the AEA Tour of Billy Elliott shut down in SF this weekend.  About 120 (or so) people lost their jobs.

The economics of such a large show, with kids, and all that goes with that, was just making the amount of money required to keep this show afloat just wasn't there.

It's now be reorganized as a NETworks going out on  Short Engagement Touring Agreement (SETA) $741/week minimum.  It's trying to get back out and pick up the tour dates already sold.   

It's interesting to see the once might road, the sort of end all be all of contracts being completely reworked, and now being quite a bit less profitable . . . that less then a lot of LORT Contracts.

1012

The Green Room / Re: Director Gossip

« on: Aug 20, 2011, 12:31 am »

What you a touching on is a historically a huge and difficult part of this job - the bridge between director and cast.

I have made a slight career about working with directors that casts sometimes don't "get", and I can offer some hints, but without knowing your own management style, you need to take this with a grain a salt.

1) Like Gil said, you need to know in what manner people are talking to you.  You need to ask them if they are just blowing off steam, or if they are asking you to take action.  Sometimes a cast just wants empathy.   

2) I think it's a mistake to "blindly" up-sell the director, but you should never through him under the bus.  If you are just blindly up-selling him, it sort of makes you look like you are a bit naive and blind to the real issues that is part of your job to deal with.

3) You need to have a frank and open discussion with the director about the issues, and like most things, try to separate the issues from the "Director" - like the cast is having some problems with feeling like their time is being wasted - not, "You, Mr. Director fellow, are wasting time."  Even if they are small issues, think of way to bring the small issues up in small ways.  Better to tell them about a couple of grumbles then blindside him with a huge problem.  If no one is talking to him about it, how can he fix his behavior??  I am sure the actors are going to him.  And remember, he is having to make 100's of little decisions - he may not know if the attitude he is getting is about his behavior, and not about a directing choice that actress disagrees with.

4) THEN, I try to offer a solution based on what I can do.  So, telling the director the cast is having some problems with feeling like there time is being wasted - is there anything I can do to help the director break down the rehearsal schedule into small blocks so that we are wasting so much time.  (In the end a happier cast is better cast . . . most of the time.)

5) If the cast and the director both see you trying to work towards a solution to the problem, you will find a) you are above the fray, but b) you are bringing the issue to the director's attention, coming up with a solution and NOT taking personal sides.  If you can make headway, then maybe getting a respected cast member to talk to the director may help.

6) If the director ends up being "Stubborn" and not willing to change, then, well, welcome to theatre.  It's not fair, it's not a democracy, and the director has an extremely difficult job . . . his style and organization may not please many people or any people, but it his method of working and it works for him, so . . . unfortunately that is the way it is.  I know that sucks, but this very issues I would say is why 30% of professional stage manager leave the business - not wanting to deal with the silliness of some directors.

Good luck.

(Completely aware I made this director a guy, I know not all directors are male)

1013

Stage Management: Other / Re: Spiking a Dance Floor

« on: Aug 19, 2011, 08:28 pm »

I have found venues being very protective over dance floor for a variety of reasons.  Dance floor is expensive, and some tapes leave a residue or take up what ever is on the dance floor.  And even if there are certain tapes or taping methods that can leave the floor damage free, certain venue managers still have issue and being very protective - if you ever work at New 42 studios, you aren't allow to spike with red spike tape.  There you go.

It's best to express your needs and ask what their recommendation method is.

1014

Stage Management: Other / Re: Spiking a Dance Floor

« on: Aug 19, 2011, 04:06 pm »

BUT check with your production manager as they may have a method or tape they want you to use.

1015

Tools of the Trade / Re: Digital Show Binder

« on: Aug 15, 2011, 10:05 pm »

Dude, let's not say "fuddy duddy" is bad . . . it's just different.

1016

Tools of the Trade / Re: Digital Show Binder

« on: Aug 15, 2011, 11:04 am »

I guess this all sort of depends on what type of stage manager you are, and Nick, this is why I was a little playful in my response to you.  I always joke that my style is about dealing with people (I manage artistic people), and then throw in about 15 minutes of technological theater knowledge.    They toys are great, and yes they help do a lot of our job well, I just hate when I see a good stage manager (and often times a younger stage manager) let these toys get in the way of connecting with the people in the room (and often young stage managers use the vast knowledge of the internet to jump in and do other people’s jobs . . . but that’s another point).   Often, working with younger stage managers you do find yourself

Kay, what’s interesting, if we look to Broadway and commercial theater as the sort of precursor of what is coming down the pike, then yes, I think the technology is coming and is here to stay.  But, on the flip side, Broadway and Commercial Theater may not always be the best management style to emulate (commercial theatre tends to treat talent as completely replaceable, including stage management – not my favorite management style).  Where as technology in lighting, scenic, sound are a natural addition.  Technology is not always an improvement in communication; it may make it easier, but it may not make is “better”. 

At the end, Nick, it’s NOTE the technology that I am against (I am a HUGE tech fan), it is how it is abused in the rehearsal hall.  I am sick of actors being on their smart phones during notes or during rehearsal, within sight of the director.  I am sick of seeing ASMs on Facebook  - hell, I am sick of me getting bored sitting in the hall and working on paperwork, and then end up flipping to Facebook.   I am frustrated about the trend in stage management for everyone to be in the hall working on their laptops – and not really paying attention to the work going on in the room.  (I keep comparing it to have an actor come in an do vocal work in our stage management office.)

Now, there are those who can use it all, and never alienate anyone – and alienate few.  But there are others who can’t not.

1017

Employment / Re: Jumped on Board Too Soon

« on: Aug 14, 2011, 11:28 pm »

and even if you "Signed" something there are almost always "outs" written into contracts.

1018

Tools of the Trade / Re: Digital Show Binder

« on: Aug 14, 2011, 07:19 pm »

Yes, it is all about personal style, and how you pull it off.  ;-)

1019

Employment / Re: Stuck in a Rut

« on: Aug 14, 2011, 03:06 pm »

Look at my resume, and you will see your story is pretty much my story - after six years of classical theater, and I am trying to shake it up a bit - for a wide variety of reasons.

It's important to sit down with a director, and sell yourself.  First know, that it is often easier for a straight play stage manager to transfer into musicals then the other way . . . It's odd, but it seems to be true.

Sit down with a director, general manager, producer, and point out the selling point of Shakespeare . . .

1) Larger cast
2) Ensemble casts / Chorus style tracking
3) Fight /Dance / Music in Shakespeare
4) Multiple Scene Changes and locations
5) Large Artistic Teams (Director, Fight Director, Vocal Coach, Musical Director, Choreographer, Etc, Etc)


AND . . . don't forget, play to strengths, there are people out there looking for good Shakespeare Stage Managers, so maybe opening up where you work.  There a lot of people out there would love the opportunity to work Shakespeare.

I have been using connections with directors and theaters to get into new work.  (For example, I got a job a new theatre by doing Shakespeare which lead to my impressing them, which lead to working on a new musical . . . )

Good luck.

1020

Tools of the Trade / Re: Digital Show Binder

« on: Aug 14, 2011, 01:57 pm »

Nick, hats off to you . . . i too can type without taking my eyes off the deck.

But this has little to do with SM taking in information (although I think open computers lead to wandering through the internet . . .), but it's the perception of other people.

Some directors hate that when they say something, it is immediately typed in to the report.

I personally hate a group of stage manager sitting six feet away with lap top opens - I would rather have one person running the room, and the rest of the team working outside of the room.  It's a bit about keeping the energy going, but keeping the focus on the work in the room.   It's not about noise, but for example, try to have a Hamlet act "to be or not to be", but have another actor sitting against the wall texting . . . it's just doesn't feel right.

I think jotting down a note is fine during rehearsal, adding something to report, what I have a problem is the SMs that get deep into updating paperwork in the middle of rehearsal to the point they have no idea what is going on right before them.