Messages

106

Introductions / Re: Hello, again

« on: Jan 21, 2014, 03:36 am »

Hi Deborah,

Please do tell Travis Walker that Les says Hello! He used to be a ballet dancer at Ballet San Jose. (I believe he's still with your company.)

Welcome back and please do share with us over on the SM: Other board.

107

Stage Management: Plays & Musicals / Re: Ensemble tracking

« on: Jan 15, 2014, 03:57 am »

Are you asking for a creation of a character/scene breakdown, or notating the lines in your script/score? If in your script, I usually just put the actor's initials at the front of each line. I did a production of The Life and Adventures of Nicholas Nickleby, where every ensemble member takes on different narration lines, and everyone plays multiple characters, with the exception of the actor playing Nicholas. I just used each actor's initials to assign their narration/generic character lines in my script, to help me know who was supposed to be speaking. (And who should be hit with a spot.)

108

Stage Management: Other / Re: Working with enormous casts

« on: Dec 29, 2013, 01:59 am »

For story ballets, the numbers of participants can get quite high, and generally with many rotating casts. For a basic rep program, I use a 2 to 3 member SM team, just to handle the dancers, maestro and orchestra. For the story ballets, I get up to 4 or 5 members.

Our most recent Nutcracker clocked in at 110 students, 36 company dancers, 8 supernumeraries, 20 Parent Volunteers, 15 Lobby Characters/Volunteers, 8 Massage Therapists, 2 Maestros and a children's choir of I don't know how many (plus the 40+ crew and symphony). We had a 4 member SM team, and each member was responsible for a number of groups. My ASM "cast" and managed the lobby team and supernumeraries, my PA scheduled and managed the Parent Volunteers and assisted the Maestro du jour, my Intern managed the students and choir (with assistance from the PA), and I (PSM) handled the calling of the show, the massage therapists, and the company dancers. Each of us was responsible for making sure our people were present and called on those that were late/made replacements. We checked our specific groups in, and for those that need checking out (supers and students) that was handled by the delegated team member.

Dressing areas can be difficult, especially when the venue you're in can't always accommodate large numbers. My principal dancers and maestro have their own rooms, while the corps de ballet has separate men's and women's dressing rooms. I am able to squeeze my massage therapists onto the main dressing level, while supernumeraries and lobby characters bunk in my office. Both male and female students take over a large rehearsal hall, which has pipe & drape sections of male and female, when it is time to get into costume. Some costumes are so large, and with the IATSE rules regarding what floors a dresser can dress on, sometimes we branch out into other backstage areas to dress dancers and students. The symphony and choir shared the musician's lounge in the basement.

Basic crowd control is mostly necessary for us when it comes to the students. That is where our Parent Volunteers come in. We have 3 per performance for the younger students, along with a ballet school staff member and our Intern. The Volunteers rotate groups up to hair/makeup, manage bathroom trips and help keep the peace while the school staffer and Intern watch the clock to make sure wardrobe is dressing students on schedule and getting them to the stage for their entrances. The Volunteers also assist with Drop Off and Pick Up, moving the students through the building so that the Intern can keep a watchful eye on everything.

As far as blocking, the ballet world is a bit different. While I am not given a score (that would be a treat!) I do write down as much choreography as I can so that I can follow along and call cues appropriately. While with a resident ballet company the Artistic Director and Ballet Master are presently practically 24/7, they are the ones giving notes to the company dancers. However, I do speak with Artistic Staff if a dancer is off of their mark or if they dancer changes the choreography and it affects my calling sequence (and that does happen, unfortunately). I do make a point to be aware of the student and supernumerary "choreography" as my team does give corrections/notes to those groups, especially when they miss their mark and cause other dancers/students to run into scenery.

My largest group ever was 248 students for a year-end ballet school recital. For that large of a group, we enlisted 9 parent volunteers for a specific group of younger students, plus an additional 14 volunteers for the older groups. For the SM team we had 3 members plus 1 schools staff member, and occasional help from our Director of Production. For this, our check-in style was very different. We had the SM with a clipboard of names, ASM talking to the students to find out their name and the PA managing the parent volunteers running the groups down to dressing rooms. Oddly enough, this was the fastest method of checking in 100+ students in a 15 minute time frame. For the pick up, we only released students by class level, and had the school staffer managing that (she knew the parents faces, so she knew she was releasing kids to the appropriate person).

I don't expect everyone on my team to know everyone involved in the production's name, especially with so many people involved. But by breaking down the responsibilities of who manages who, we get a better chance of giving everyone a touch of personal attention.

109

Tools of the Trade / Water Marking Videos - Software Recommendation?

« on: Dec 08, 2013, 01:27 am »

I'm curious if anyone out there has to create watermarks for their company's archival videos and what software you use.

In my company's current season, we have several lighting designers who are from out of state/country, and in order to have them design a rep plot, they need to see the other ballets in their rep program. Our company has decided to use private YouTube videos of our works, but watermarked, as it is very easy to download just about anything on the net. Granted, there is software you can buy that can remove watermarks, but we can't help that.

I've done a ton of searching online to try to find a free video watermarking program, and I can't seem to find one. I don't need a how-to from Adobe on how to build one and lay it in, as my company doesn't have the Adobe Suite. Have you found anything that was freeware? If you paid for software, is there a particular one that you recommend? (I'm currently using WonderShare as a free trial, so I can only watermark 10 videos, and the WonderShare logo is watermarked on my video as well.)

110

Stage Management: Plays & Musicals / Re: CALLING: Calling Score examples and advice

« on: Dec 07, 2013, 01:51 am »

/off topic

My summer company likes to call the script/score combo a "scort" - reminds me of skorts.

/on topic

111

Stage Management: Other / Re: What skills can I pick up from an internship? I have a music background.

« on: Dec 01, 2013, 02:21 pm »

You can find the link to the internship review but clicking the Internships link in the far upper right hand corner of the website.

112

The Green Room / Re: Poll: Main Factor for Making it In This Business

« on: Nov 21, 2013, 03:20 am »

From my own personal experience, I'd say that there are layers to this.

I'd vote first for Hard Work. If we don't work hard and have the experience necessary, then we can't do the job. (At least in my opinion.)

I'd vote second for Who You Know. 80% of the jobs I've gotten have been because I've known someone, or had some sort of friend-of-a-friend connection to get my foot in the door. Or simply because someone gave someone else my name, and I didn't even know about it.

And third, I'd vote for Luck. Based on Hard Work and Who You Know, Lady Luck - in the case of right place, right time - has seriously been on my side for at least 90% of my jobs.

Because I'm a hard worker and have made and kept connections with various people in various positions where I have worked along the way, I just happen to be available for great jobs when they come along. A woman I haven't worked for since 2008 pops back into my life for a brief stint to ask me a few questions about Stage Managing in the summer of 2012. She comes back again in April 2013 asking if I know anyone available for a summer gig with her festival. I said I might be. By November 2013 I have a signed LOA to be a Production Manager for her festival. She knows I'm a hard worker, I didn't apply for the job - she was someone I knew and worked for in the past, and, as luck would have it, I'm completely available for the position when she needs me. I've had several opportunities just call me up when I was in need of a job - so I consider a lot of it luck. My reputation (or at least what others say about me) may precede me, and perhaps that falls back to the Hard Work category and even Who You Know, but for me - once you have those two, sometimes it all boils down to luck.

At least in my opinion, Luck has brought me my career for the past 11 years.

113

Job Postings / SM Intern: Ballet San Jose's The Nutcracker 12/2013 (Stipend) [San Jose, CA]

« on: Nov 19, 2013, 03:43 pm »

 Stage Management Interns serve as the Stage Manager of the Students for our annual production of The Nutcracker. They are required to attend a small number of studio rehearsals, techs, and depending on their availability - some or all of the performances. If two interns are hired, they will split the stipend (and work) evenly. If one intern is hired, they will receive the full stipend and work load. Split stipend is $300, full stipend is $600. All interns will be provided free parking during tech and performances.

 
We do not offer housing or transportation. We are interested in local hires only (San Jose/SF Bay Area).
 
Rehearsal Information:
 
IN-STUDIO REHEARSALS:
12/2/13-12/6/13
 
We do require that interns attend at least 2 rehearsals during our in-studio rehearsal week to familiarize themselves with the show and understand their responsibilities. Interns are welcome to come as often as they are able. We will rehearse 11am-1:30pm and 2:30pm-5:30pm each day. The recommended times for intern attendance are from 2:30pm-5:30pm. Interns can choose any day/time combination that suits their schedule.
 
 
TECHNICAL/DRESS REHEARSALS:
The intern's responsibility spans the entire show and it is necessary for the intern (or interns) to cover all technical rehearsals.
 
Tech Schedule:
12/11/13 12:15pm -  5:00pm  Act 1

12/11/13  6:15pm - 11:15pm  Act 2
12/12/13 12:15pm -  5:00pm  Entire Show
12/12/13  6:15pm - 11:15pm  Dress Rehearsal

12/13/13 12:15pm -  5:00pm  Entire Show
12/19/13  6:15pm - 11:15pm  Entire Show
 
The current run time is 2 hours 10 minutes.

Our performance schedule can be found on our website:
http://www.balletsj.org/nutcracker.html
*There will be an additional performance added on 12/23 at 7pm.
 
Please send resume and cover letter to Les Reinhardt, Production Stage Manager: LReinhardt (at) BalletSJ (dot) org

No calls, please.

114

The Green Room / Re: Poll: Main Factor for Making it In This Business

« on: Nov 18, 2013, 03:24 am »

Excellent question. I am really torn as to which to vote for, since I feel it could be a combo of the given choices. Though I have known people from almost every option you list.

115

Stage Management: Plays & Musicals / Re: PROPS: Drugs, anyone?

« on: Oct 26, 2013, 07:14 pm »

Snorting any powder over multiple takes can cause an actor to become congested. (Or just angry.) In that case, the prop masters will sometimes coat the inside of the coke straw with Vaseline. When the powder is snorted, most of it sticks to the straw instead of going up the actor’s nose.

That's an excellent tip. Great article find, Matthew!

116

The Hardline / Re: How to SM Workshop - For AEA Members?

« on: Oct 25, 2013, 02:16 am »

I am not an AEA member so take my opinion with a grain of salt, but:

It is possible and does happen that a 2nd ASM can be in the cast, so isn't this already answered to a degree?

Yes, that is true. And, of course, there are those AEA members (and non-AEA) who are both equally good at SM and Acting and are able to take over either job with ease. I don't disagree with that statement, since there are those members who enjoy playing both sides of the curtain. And yes, SMs and Actors are in the same union, and any SM could audition for a part just as any Actor could submit a resume to SM a show. However - that doesn't mean that their abilities to get the opposite job are as equal as getting a job that they trained for. That is where I find fault with the original quote.

I studied acting in college, but all of my professional experience is in SM. I wouldn't dare go audition for an Union show, because I know I don't have the chops for it and haven't taken an acting class since 1999. I think it would be insulting to other union actors, and embarrassing for myself, due to my lack of acting skills. Reverse the situation - just because an AEA Actor called a show or two in college, but has been acting professionally for 10+ years doesn't mean they SHOULD accept an AEA SM contract for a show, just because they are an AEA member. And a Saturday morning Workshop isn't going to make that AEA Actor an expert in all things SM and ready to take on the task.

I am really trying to see the other side of this, as this potential "How to be a SM/SM Brush Up" workshop is being proposed to me as a task to take on. So far it seems as though people tend to agree with how I am viewing this. Does anyone have an opposite view to help me see this in a new light?

(I'm not ignoring the suggestions of spinning it into the "This is What a SM Does" for AEA Actors, it's just I think I may be stuck with what I've already been given - but it is a great idea!)

__

And getting back to another one of my original questions - would you attend this Workshop, as an AEA SM? Why or Why not?

117

The Hardline / How to SM Workshop - For AEA Members?

« on: Oct 24, 2013, 01:43 am »

For my AEA brothers and sisters -

If your local Liaison Committee offered a free "How to SM/SM Brush Up Workshop" taught by local AEA SMs, would you attend? Do you feel such a workshop would be beneficial to you (as an AEA member)? Do you think it would it be beneficial to AEA Actors?

Do you agree or disagree with this statement, "Any AEA member can and should be able to SM just as any SM can walk onstage and be an actor." Why?

I am keeping my opinions quiet until I hear from some of you. I would love to hear 100% honest feedback.

Many thanks!

118

The Green Room / Re: Another thank-you notes question: When are they "too much?"

« on: Oct 22, 2013, 11:55 pm »

For me, I've only written thank yous for directors and actors. Way back in the day I would include designers, but I was never one for going beyond that into regular company staff positions (TD, PM, Costume Shop Manager, etc).

My last "big" straight play was in 2008, and after that my residency at a ballet really took off - so with the same group of dancers, artistic staff and lighting designer all season long, no one was writing Thank You cards. Since then I've done smaller projects, lasting no more than 2 weeks and no one writes cards or notes for those either (except for a very thankful Director who was a friend of mine). I'd say focus on the new people for each show, the people there every day - and if you want, expand into designers. Otherwise I think you're going overboard.

119

Self-Promotion / Star-Studded Ballet Gala Performance (San Jose, CA)

« on: Oct 18, 2013, 01:53 am »

http://www.broadwayworld.com/bwwdance/article/Ballet-San-Jose-Presents-All-Star-Gala-1116-20131015

Even though the article is poorly edited, it's still cool to be mentioned on BroadwayWorld.com!
Can't wait to call this show - which I'll get to only see part of the day before, due to the number of guest artists.

120

The Hardline / Re: Adding stage management wording to Equity\'s \"How to Hire Me\" document?

« on: Oct 16, 2013, 11:45 pm »

I remember hearing about a document like that in the Bay Area. I'm going to ask my Liaison about it and post back.
Post Merge: Oct 17, 2013, 10:55 amI checked with my Liaison for the SF Bay Area and this document is something created by each Liaison committee, and then approved by staff, VSM. For us, the file is called "Bay Area Producer Letter" - aka, the "How to Hire Me" letter. Since it's a locally made file, it's not available on the AEA website. Our Liaison hands out copies of the letter at our GM meetings.

For our area's version, we list 5 different options: Special Appearance, Guest Artist, Periodic Performance, our local contract: MBAT (levels 1 & 2) and the Bay Area Staged Reading. Each item explains - in a quick reference style - the basic rules for each contract (seating, performance max, health contributions -if any, etc).

Only under the MBAT listing do you see this language:

  "Actors Salary is $xxx.00, for both Levels.  An AEA Stage Manager is not required but Stage Managers weekly minimum salary for both Levels is $xxx.00, Assistant Stage Managers Weekly Minimum salary $xxx.00.
 
We aren't mentioned anywhere else in the document. It may be because actors tend to outnumber SMs when it comes to looking for work. Usually SMs aren't the ones on Special Appearance or Guest Artist contracts (I have had several Periodic Performance contracts). I am not familiar with your local contract offerings, but perhaps just suggest a sentence that mentions Stage Managers and what the minimum salary would be.

Another way you can take this: just get a copy of the file from your area Liaison and send it to a local non-AEA Producer you would like to work for. In the Bay Area, we are told to take this to Producers to tell them how easy it is to hire (and pay!) AEA members. It's up to the membership to get these non-AEA Producers on board, so be proactive, take the file to a potential producer and say, "This applies to me too! Hire me under an AEA contract."