106
Tools of the Trade / Re: Dropbox account full
« on: Mar 05, 2013, 07:49 pm »
Can you just "email" the files? I use www.wetransfer.com for podcasts i record. Files usually are 40+mb. Simple to use, and free.
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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107
The Green Room / Re: SMNetwork fundraising drive 2013
« on: Mar 02, 2013, 04:25 pm »
Contribootin. I duz it right!
108
Students and Novice Stage Managers / Re: Troubleshooting Procedures during Performance
« on: Feb 14, 2013, 08:24 pm »
You should write a contingency for the North Koreans launching a nuclear assault, zombie apocalypse, and the rapid release of gravimetric pressure.
Hey....they could happen during your show!
As for specifics...I think you've got the right basic idea not mapping out everything:. Impossible. I'd go with the SL, SR procedures. Maybe the best way to go about it is ask the producer which situations they can think of that they'd like you to have procedures in place for and develop those.
Hey....they could happen during your show!
As for specifics...I think you've got the right basic idea not mapping out everything:. Impossible. I'd go with the SL, SR procedures. Maybe the best way to go about it is ask the producer which situations they can think of that they'd like you to have procedures in place for and develop those.
109
The Green Room / Re: Ghostlit
« on: Feb 13, 2013, 02:42 pm »
I'll ask him if it can expand. Don't see why not....
110
The Green Room / Ghostlit
« on: Feb 13, 2013, 10:57 am »
In the continuing theme of Apps in the world of theater, a former colleague of mine has developed a website and iPhone app called Ghostlit. It's available now on the app store. The entire concept is you can sign up for free (and anonymously if you choose) and you can rate theater's you've worked at. It's actually pretty similar to what we have set up here with the internship tab.
It's no where near to a complete list of theaters, but you are able to suggest theaters to the developers and they can add them. App is not necessary, you can go through the website to do the same thing you can on the app.
Check it out if you feel so inclined: Ghostlit.com and search Ghostlit in the Apple App store. He told me droid is in development right now and should be out soon.
It's no where near to a complete list of theaters, but you are able to suggest theaters to the developers and they can add them. App is not necessary, you can go through the website to do the same thing you can on the app.
Check it out if you feel so inclined: Ghostlit.com and search Ghostlit in the Apple App store. He told me droid is in development right now and should be out soon.
111
Stage Management: Plays & Musicals / Re: Prop/costume responsibility
« on: Feb 11, 2013, 03:34 pm »
Agree with Matthew. 110%. If the producer comes to me and asks "Why did X, Y, and Z happen?" It's on me. Either someone wasn't trained properly, supervised properly, or checked properly. If it's a member of my staff, we go discuss how to prevent it from happening again. I'm not throwing them under the bus. That won't accomplish anything except to dissolve trust and put everyone on edge which almost guarantees more mistakes in the future.
112
Stage Management: Plays & Musicals / Re: No Understudies Versus the Show Must Go On
« on: Feb 11, 2013, 03:24 pm »
It's vicious to sit there and toss a problem at an individual who is hired to be a problem solver when it's something you should have planned for from the beginning.
I have to agree with your idea that if they don't hire understudies, it's on the producer's head. If the director didn't plan for the contingency and the cast wasn't aware they were to understudy in the event of illness, there shouldn't even be a conversation in my mind. Show's off. If this then prompts them to hire understudies or cast them from within the company that's another issue.
Shouldn't the "upgrade" in status to the Non-AEA members create some sort of havoc in terms of Equity contracts too? If they perform as an understudy for a week, do they get paid as an AEA actor? Do they have to join the union? Who pays for it? I worked on a show where we had understudies for a 5 performance weekend. Why spend that money on 5 performances? Because the producers absolutely wanted a contingency plan in the event of injury or illness.
I have to agree with your idea that if they don't hire understudies, it's on the producer's head. If the director didn't plan for the contingency and the cast wasn't aware they were to understudy in the event of illness, there shouldn't even be a conversation in my mind. Show's off. If this then prompts them to hire understudies or cast them from within the company that's another issue.
Shouldn't the "upgrade" in status to the Non-AEA members create some sort of havoc in terms of Equity contracts too? If they perform as an understudy for a week, do they get paid as an AEA actor? Do they have to join the union? Who pays for it? I worked on a show where we had understudies for a 5 performance weekend. Why spend that money on 5 performances? Because the producers absolutely wanted a contingency plan in the event of injury or illness.
113
Tools of the Trade / Re: Where can I get good gaffers tape?
« on: Feb 10, 2013, 01:55 pm »
Where are you located?
I so happen to be a purveyor of all things gaff tape, all sizes, all colors. I can probably help you out. Send me a PM
I so happen to be a purveyor of all things gaff tape, all sizes, all colors. I can probably help you out. Send me a PM
114
The Green Room / Re: The things we give up for theatre
« on: Feb 05, 2013, 08:30 pm »
The major ones, family weddings...funerals...but I gave up my health to theatre most of all.
Late hours, no sleep, living off caffeine and energy drinks, midnight $1 a slice pizza, frozen dinners, thousands and thousands of cigarettes, alcohol to numb a bad tech, alcohol to celebrate an opening, unhealthy relationships....I've lost my pinky toe nail, done nerve damage to my left elbow, hyper extended my right one multiple times, worn down my knees, nearly crushed all the fingers on both hands, electrical shocks, burned, cut, splinters etc...
I thought when I left to sit behind a desk I would miss it. I found that I just don't. My swan song production to me was the best way to cap my career and that part of my life. I was the calm center in a sea of chaos, adapted to severe technical difficulties Etc etc. I was sad because I finally felt every thing click for me as a stage manager and I would be walking away after and what could be now that I had this revelation.
But I will always know what it was.
Late hours, no sleep, living off caffeine and energy drinks, midnight $1 a slice pizza, frozen dinners, thousands and thousands of cigarettes, alcohol to numb a bad tech, alcohol to celebrate an opening, unhealthy relationships....I've lost my pinky toe nail, done nerve damage to my left elbow, hyper extended my right one multiple times, worn down my knees, nearly crushed all the fingers on both hands, electrical shocks, burned, cut, splinters etc...
I thought when I left to sit behind a desk I would miss it. I found that I just don't. My swan song production to me was the best way to cap my career and that part of my life. I was the calm center in a sea of chaos, adapted to severe technical difficulties Etc etc. I was sad because I finally felt every thing click for me as a stage manager and I would be walking away after and what could be now that I had this revelation.
But I will always know what it was.
115
Employment / Re: How do I make a short resume look more appealing?
« on: Feb 05, 2013, 08:06 pm »
Agree with all that's been mentioned. When I left college my resume included sound design positions, master carp, ATD of my college theater building, and a few other things. I did try to balance it so it didn't look like stage managing was an after thought.
SMs also tend to be viewed as a cure-all for productions. It's not necessarily how it should be but perceptions are hard to change. Having these things now will show you've experienced more than your SM resume on its own would relay. Only you can judge when it's time to eliminate them though. Mine went away about a year after I moved to NYC and I started to get a reputation as a sound designer I didn't want to have.
SMs also tend to be viewed as a cure-all for productions. It's not necessarily how it should be but perceptions are hard to change. Having these things now will show you've experienced more than your SM resume on its own would relay. Only you can judge when it's time to eliminate them though. Mine went away about a year after I moved to NYC and I started to get a reputation as a sound designer I didn't want to have.
116
Stage Management: Plays & Musicals / Re: COSTUMES: Legally Blonde
« on: Jan 31, 2013, 09:34 am »
Impossible to say.
How many changes happen at once?
Where do the changes take place? Are there 6 changes happening at 6 points on deck, or are they all happening in one clump on Stage Left?
How fast is your "quick change"? If it's over a certain time say...2 minutes... does the actor actually need a dresser?
Do you dedicate two dressers to Elle so they are always responsible for her quick turn around, or just the one?
Do you have the space to do onstage quick changes, or do they need to go to a hallway etc?
Can there be any layering done to prevent a full "down to the britches" quick change?
Are chorus members fully changing clothes, or just pieces/accessories?
Long and short of it: You'll have to figure out these things and many many more before you can figure out how many dressers you'll need. I would suggest dedicating one person to Elle which appears to have been your original thought. You may want to consider a second one depending on how complex her changes are.
How many changes happen at once?
Where do the changes take place? Are there 6 changes happening at 6 points on deck, or are they all happening in one clump on Stage Left?
How fast is your "quick change"? If it's over a certain time say...2 minutes... does the actor actually need a dresser?
Do you dedicate two dressers to Elle so they are always responsible for her quick turn around, or just the one?
Do you have the space to do onstage quick changes, or do they need to go to a hallway etc?
Can there be any layering done to prevent a full "down to the britches" quick change?
Are chorus members fully changing clothes, or just pieces/accessories?
Long and short of it: You'll have to figure out these things and many many more before you can figure out how many dressers you'll need. I would suggest dedicating one person to Elle which appears to have been your original thought. You may want to consider a second one depending on how complex her changes are.
117
Stage Management: Plays & Musicals / Re: A Difficult Designer
« on: Jan 31, 2013, 09:23 am »
Well, I'd say first of all it's not his "responsibility" to be flexible. Would it be nice? of course. But that's creating a confrontational situation which isn't going to end well. Our job is to facilitate the art and environment of a production and it's members, not dictate.
Now regardless of that, you're two weeks out from tech. I'm not exactly sure why a schedule change can't be made. Is it space constraints? Actor conflicts? Director conflicts? Can you drop a rehearsal day somewhere, but pick up a rehearsal on a scheduled off day which might allow for your LD to make it to a run?
There also appears to be a breakdown in communication somewhere. If you're having planned run throughs the week before tech, but he's saying they aren't getting full run throughs until tech, there needs to be a clarification there.
In your response, don't push blame. That's not going to help. If you have the free time and you and he can get together perhaps you can propose a dry tech where you go over the blocking movements and he can mentally prepare for the design. Open the possibility of him offering a compromise that might allow him to see the show, but still fit it into his schedule. Could one of your tech days be a spacing rehearsal on stage with him working over top of the cast as they figure out the staging in the space?
Now regardless of that, you're two weeks out from tech. I'm not exactly sure why a schedule change can't be made. Is it space constraints? Actor conflicts? Director conflicts? Can you drop a rehearsal day somewhere, but pick up a rehearsal on a scheduled off day which might allow for your LD to make it to a run?
There also appears to be a breakdown in communication somewhere. If you're having planned run throughs the week before tech, but he's saying they aren't getting full run throughs until tech, there needs to be a clarification there.
In your response, don't push blame. That's not going to help. If you have the free time and you and he can get together perhaps you can propose a dry tech where you go over the blocking movements and he can mentally prepare for the design. Open the possibility of him offering a compromise that might allow him to see the show, but still fit it into his schedule. Could one of your tech days be a spacing rehearsal on stage with him working over top of the cast as they figure out the staging in the space?
118
The Green Room / Re: ARTICLE: In Defense of Stage Managers
« on: Jan 14, 2013, 07:25 am »
My first professional experience was with a director who had that kid's 'tude.
119
Stage Management: Plays & Musicals / Re: Groundplan Doesn't Fit
« on: Jan 11, 2013, 07:06 am »
Talk to your director if they mind shrinking it. If they don't mind, do it. The cast will get used to a smaller space and then feel relieved as soon as you move into the space and have all this extra room.
120
Employment / Re: Salary Requirements
« on: Jan 07, 2013, 09:48 am »
I should have mentioned that was what I meant as the take home pay. If you're taking home 600 a week, depending on your taxes, that's actually 40k a year.
Apologies for unclear posting. You do make a good point, though. I went through the same thing at a few jobs. They can be brutal about not revealing their hand in terms of pay scale.
Apologies for unclear posting. You do make a good point, though. I went through the same thing at a few jobs. They can be brutal about not revealing their hand in terms of pay scale.