1081
The Green Room / Re: LINKS: Simple desktops
« on: Jun 24, 2011, 01:57 pm »
Click a wallpaper to choose then control click to set as wallpaper.
(works on my macbook pro)
(works on my macbook pro)
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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1082
The Hardline / Re: AEA Shared Productions
« on: Jun 22, 2011, 02:25 pm »
I would rehold the deputy election and the aea votes . . .
there are a wide variety of reasons, but, for example, at the first theatre, there may have been lots of restaurants near by for lunch, at the new theatre, there might not be . . . so they might want a longer lunch break.
Also, now that they know the show, they want may to vote different ways knowing their work load.
As far as what questions to ask, having done this before - on both sides - you are going to want to know everything, but try to learn as much as you can from paperwork, video recording, sheet music, script, etc, etc - before you launch into a hundred questions. I always hated being asked stuff that was obviously outlined in paperwork.
there are a wide variety of reasons, but, for example, at the first theatre, there may have been lots of restaurants near by for lunch, at the new theatre, there might not be . . . so they might want a longer lunch break.
Also, now that they know the show, they want may to vote different ways knowing their work load.
As far as what questions to ask, having done this before - on both sides - you are going to want to know everything, but try to learn as much as you can from paperwork, video recording, sheet music, script, etc, etc - before you launch into a hundred questions. I always hated being asked stuff that was obviously outlined in paperwork.
1083
Employment / Re: Hints For Getting On A Broadway Tour
« on: Jun 21, 2011, 11:28 am »
Given production contract shows are the holy grail of shows, there are no "easy" ways in. Most PSMs hire SMs and ASMs they know - it's people they know.
Right now, I know a couple of PSMs who are are putting together teams - but most AEA SM's who have never done a tour, tend to be hired as PA's until the break into the inner circle.
I think it's all about who you know, luck, being in the right place at the right time - there is no one way to get those types of job you want.
Right now, I know a couple of PSMs who are are putting together teams - but most AEA SM's who have never done a tour, tend to be hired as PA's until the break into the inner circle.
I think it's all about who you know, luck, being in the right place at the right time - there is no one way to get those types of job you want.
1084
Stage Management: Plays & Musicals / Re: RUNNING: Maintaining the Show
« on: Jun 20, 2011, 05:24 pm »
Maribeth, as you know, I too am a huge fan of checking with cast members after the show from the start of previews - it allows for a two way conversation. Just asking them if they have notes will allow them to get things off their chest, and also help you nip notes in the bud, and then I can turn around and give notes right away - but face to face and in a way that allows an artistic conversation to happen.
I am not a huge fan of posting run times . . . the issue is, that sometimes the run time is NOT the best measure of a show . . . the show could have been three minutes longer, but it could have been because of laughter, applause, etc . . . it could have been the same time as last night, but still felt rushed. Yes, the run time is a tool, but be careful about relying too much on it.
One of the tricks I use, especially on a long running show, I stop watching "the whole" show and instead pay attention to one performer, and watch their entire track. Or, I pay special attention to one scene more then another. Something to shake up my eye and my mind and keep things fresh - especially when I am watching form the house.
I find that during rehearsal, if you take down buzz words the director uses to direct a scene, you will find it helpful to reuse the exact words the director used.
Also, I find it helpful is to take the director for a walk, and ask them what they want an eye kept on, what they are worried about, what they would like to see grow, and what they want to make sure does not get out of hand.
I also am a huge fan to letting the actors admit their own mistake:
Me: "So, Scene 2 seemed a bit off tonight"
Actor: "I have no idea what you mean."
Me: "Your blocking seemed off, and there seemed to be a whole new intention on the first couple of lines - was something wrong?"
Actor: "Oh, no, I was trying something new."
Me: "Oh, well, I don't think it was completely successful, can we go back to the way we rehearsed it . . . (give a good reason, quote back some director's words here).
Getting the actor to admit there was a issue is half the battle some time.
I am not a huge fan of posting run times . . . the issue is, that sometimes the run time is NOT the best measure of a show . . . the show could have been three minutes longer, but it could have been because of laughter, applause, etc . . . it could have been the same time as last night, but still felt rushed. Yes, the run time is a tool, but be careful about relying too much on it.
One of the tricks I use, especially on a long running show, I stop watching "the whole" show and instead pay attention to one performer, and watch their entire track. Or, I pay special attention to one scene more then another. Something to shake up my eye and my mind and keep things fresh - especially when I am watching form the house.
I find that during rehearsal, if you take down buzz words the director uses to direct a scene, you will find it helpful to reuse the exact words the director used.
Also, I find it helpful is to take the director for a walk, and ask them what they want an eye kept on, what they are worried about, what they would like to see grow, and what they want to make sure does not get out of hand.
I also am a huge fan to letting the actors admit their own mistake:
Me: "So, Scene 2 seemed a bit off tonight"
Actor: "I have no idea what you mean."
Me: "Your blocking seemed off, and there seemed to be a whole new intention on the first couple of lines - was something wrong?"
Actor: "Oh, no, I was trying something new."
Me: "Oh, well, I don't think it was completely successful, can we go back to the way we rehearsed it . . . (give a good reason, quote back some director's words here).
Getting the actor to admit there was a issue is half the battle some time.
1085
Stage Management: Plays & Musicals / Re: PROFESSIONALISM: cell phones onstage
« on: Jun 20, 2011, 10:47 am »
Just remember, there can always be a delay with text messages. (for example, for some reason with me and my current ASM, there could be a 12 hour delay between text messages . . . for some reasons between our carriers). I don't like using text messages for business or time sensitive communication.
1086
Tools of the Trade / Re: iPads
« on: Jun 18, 2011, 02:28 am »
Okay . . . I have an iPad.
The puppies got it for me for opening night (a little early, but I have some down time next week to play and learn). And I want to be up to speed on it before my next show out of town.
So far, just getting used to it, but themikejones list is ideal so far . . .
The puppies got it for me for opening night (a little early, but I have some down time next week to play and learn). And I want to be up to speed on it before my next show out of town.
So far, just getting used to it, but themikejones list is ideal so far . . .
1087
The Green Room / Re: TEAM BUILDING - Part One - The Assistant
« on: Jun 17, 2011, 08:12 pm »
I am finding that my list is getting longer and longer, as I get older and older.
1) I do want our styles to mesh - but most important - I want our sense of humors to mesh. Spending 12-16 hours together, I want us to get along. I want out communication style to get along. I want out attitude toward the job to get along. At the end of the day, I would prefer2 a B+ stage manager who I get along with then an A+ stage manager I hate working with.
2) I want an ASM who has experience PSMing. This is vital to me now - if the ASM doesn't know what it is like to sit in my in seat, I am not sure how they are going to know what I need, or anticipate what I need or don't need.
3) I need an assertive, leader, who is also a team player. Passive aggressive or passive managers need not apply. Seriously, I don't have time for that style of communication or management. If you can't manage people, in my opinion, you have no place in stage management.
4) TEAM PLAYERS - once we start work until the day we close, we are team working together, with our focus being to put the show up - there should be no internal competition, trying to outshine the other team members or put down other team members. THAT ONLY MAKES YOU LOOK PETTY, CHILDISH AND NOT MANAGEMENT MATERIAL.
5) I want a manager who knows what to do. I never want to hear "What should I do next?", I want to hear "I have these three things to do on my list, what do you want me to do first?" The first makes it seem like you have no idea what needs to be done.
6)They need to compliment me (not the "hey, you look nice today", although that is nice), but we need to work really well to together.
I have a lot of other little things . . . but those are big ones.
1) I do want our styles to mesh - but most important - I want our sense of humors to mesh. Spending 12-16 hours together, I want us to get along. I want out communication style to get along. I want out attitude toward the job to get along. At the end of the day, I would prefer2 a B+ stage manager who I get along with then an A+ stage manager I hate working with.
2) I want an ASM who has experience PSMing. This is vital to me now - if the ASM doesn't know what it is like to sit in my in seat, I am not sure how they are going to know what I need, or anticipate what I need or don't need.
3) I need an assertive, leader, who is also a team player. Passive aggressive or passive managers need not apply. Seriously, I don't have time for that style of communication or management. If you can't manage people, in my opinion, you have no place in stage management.
4) TEAM PLAYERS - once we start work until the day we close, we are team working together, with our focus being to put the show up - there should be no internal competition, trying to outshine the other team members or put down other team members. THAT ONLY MAKES YOU LOOK PETTY, CHILDISH AND NOT MANAGEMENT MATERIAL.
5) I want a manager who knows what to do. I never want to hear "What should I do next?", I want to hear "I have these three things to do on my list, what do you want me to do first?" The first makes it seem like you have no idea what needs to be done.
6)They need to compliment me (not the "hey, you look nice today", although that is nice), but we need to work really well to together.
I have a lot of other little things . . . but those are big ones.
1088
The Green Room / TEAM BUILDING - Part One - The Assistant
« on: Jun 16, 2011, 10:26 pm »
So, now that I am freelancing, I am in the position now, where I am getting to "choose" my assistant - sometime from a list, sometime from out of the air.
I am trying to form an idea of what I want in a dream assistant - I know it's sort of long term relationship in some ways - the best PSM/ASM relationships are one built over multiple shows.
What do you look for in an assistant?
I am trying to form an idea of what I want in a dream assistant - I know it's sort of long term relationship in some ways - the best PSM/ASM relationships are one built over multiple shows.
What do you look for in an assistant?
1089
The Green Room / LINKS: Simple desktops
« on: Jun 14, 2011, 11:13 am »
I love this link when I want to change my desk top image on my lap top.
Something fun and simple.
Today, I found this.
http://simpledesktops.com/browse/desktops/2011/jun/05/sharpie/
I thought fitting for a stage manager.
But go ahead and browse. A fun site.
Something fun and simple.
Today, I found this.
http://simpledesktops.com/browse/desktops/2011/jun/05/sharpie/
I thought fitting for a stage manager.
But go ahead and browse. A fun site.
1090
The Green Room / Re: ARTICLE: Bad career adivce "Doing What We Love"
« on: Jun 12, 2011, 04:05 pm »This is an interesting article, although I'm not quite sure I agree entirely - I do love what I do, and I think (especially in theatre), its important to have passion of some kind for the work you do
But, here is the thing, and good for you loving what you do . . . but when love, an emotion, enters a business decision, like what do for a career and what we do to make money, then everything runs the risk of getting screwy.
You get people who are unqualified, under-qualified, or just bad as a stage manager trying to make a living stage manage because "they love it". (and becoming very frustrated by not being able to make a living at it.)
People staying in the market long after it doesn't make it any business sense for them to remain in the market because they "love the job".
People who think they can make a living regardless of the market they live in, because they "love the job."
Young people, with very limited experience, without their equity card, picking up and moving to major metropolitan markets that are already saturated expecting to make a career because they "love the job".
Let's be honest, yes, to be a stage manager there is a bit of "loving" the job, but let's call it a mature love, and not a puppy love or immature infatuation.
You base a career decision based more on things, like:
do you have the basic talent for the career?
do you the interest and means for career growth?
will this career allow for career and personal growth?
will this particular career support the lifestyle you wish live?
do i have an acceptable risk for a chance at success?
you base a business based upon research, to make an informed decision. Again, remember, unlike other professions where you go ahead and get hired by someone, ultimately most of us are going to be free-lancers, which means running a business of one. Who would start a small business without doing some sort of extensive research?
Not everyone who "loves" being a stage manager is going to be able to making a living at it - to expand upon the article's author's example - not everyone who enjoys sex would be able to making a living it.
In fact, this notion of "loving" the job, I think, is part of the reason of why our job is devalued in New York City. There are all these stage management jobs for $50.00 or just for a metro card - basically volunteer gigs, because you know "stage managers do it for the love of the job".
I know, I know, I know - I am coming off like a downer and pessimist - but I am terrified about the sheer numbers of younger stage managers entering the career field with unreal expectations, and little research on what the job and the lifestyle is like, and have nothing more then their “love” of stage management to get them through. And that’s great, except when it that “love” blinds them to making basic business decisions correctly.
I can tell you horror stories of the job market in NYC. I can point out that given the thousands of people active on SMNetwork, there are four or five times the registered users here working as stage managers in the US. There are a lot of us in a very cut throat business (especially for those living wage jobs.)
I just think people should understand the risks and challenges of pursuing this particular career “just because” they love it.
1091
The Green Room / Re: ARTICLE: Bad career adivce "Doing What We Love"
« on: Jun 11, 2011, 06:53 pm »
I hate when "fun" and "work" get confused - are you having fun on your current show? Well, no - It's work; I am enjoying it.
I do what I do for money, and quite a bit of it, because I deal with a lot of crap - it's not fun, and I would not do this free. I do enjoy my career, but it's not a love of mine above and beyond on anything else in my life. I love theater - but that's not my job, that's an art form.
I do what I do for money, and quite a bit of it, because I deal with a lot of crap - it's not fun, and I would not do this free. I do enjoy my career, but it's not a love of mine above and beyond on anything else in my life. I love theater - but that's not my job, that's an art form.
1092
The Green Room / ARTICLE: Bad career adivce "Doing What We Love"
« on: Jun 11, 2011, 03:02 pm »
I was reading up on career advice, as I was looking to post about the dangerous of taking career advice from peers - when I ran across this article.
Here’s a very interesting article from a blog . . .
http://blog.penelopetrunk.com/2007/12/18/bad-career-advice-do-what-you-love/
A great dose of reality, and a different perspective. (Be careful, she does talk a bit a bout sex, but it's a great example.)
There are SO MANY gems in here . . . but it lines up a lot of what I feel about young people (or not so young people) making career decisions - especially based on the fact "they love theater", "they love Broadway", "they love musicals".
Here’s a very interesting article from a blog . . .
http://blog.penelopetrunk.com/2007/12/18/bad-career-advice-do-what-you-love/
A great dose of reality, and a different perspective. (Be careful, she does talk a bit a bout sex, but it's a great example.)
There are SO MANY gems in here . . . but it lines up a lot of what I feel about young people (or not so young people) making career decisions - especially based on the fact "they love theater", "they love Broadway", "they love musicals".
1093
Self-Promotion / Re: SITP: Measure for Measure
« on: Jun 11, 2011, 03:35 am »
Pictures . . .
http://www.playbill.com/multimedia/gallery/2561/?pnum=5
Um, these are a lot of tight shots, which doesn't quite do the production's design justice . . . scenic design by Scott Pask; costume design by Elizabeth Hope Clancy ; lighting design by Peter Kaczorowski.
2 Previews done, and now All's Well has a couple of days of previews before I get back into the headset.
http://www.playbill.com/news/article/151453-Measure-for-Measure-First-of-Shakespeare-in-the-Parks-2011-Repertory-Productions-Begins-June-6
http://www.playbill.com/multimedia/gallery/2561/?pnum=5
Um, these are a lot of tight shots, which doesn't quite do the production's design justice . . . scenic design by Scott Pask; costume design by Elizabeth Hope Clancy ; lighting design by Peter Kaczorowski.
2 Previews done, and now All's Well has a couple of days of previews before I get back into the headset.
http://www.playbill.com/news/article/151453-Measure-for-Measure-First-of-Shakespeare-in-the-Parks-2011-Repertory-Productions-Begins-June-6
1094
The Green Room / Re: Future
« on: Jun 11, 2011, 02:26 am »
The question is a little about wanting your cake and eat it to; or having a really good back up plan.
Not everyone is going to able to pursue a career in theatre - it's like when a parent says their child can grow up to be president, but not every kid can be president - just because you have the talent, the desire and whatever, it just may not be in the cards to make it as a career. Doing it for the love of theatre, and on the side of another career is fine - there are some wonderful community theaters out there which give people of all walks of life the chance to make art, create theatre without the pressures of having to make money at it, or do it full time. (trust, once theatre becomes a HAVE TO DO to make rent, pay bills, etc - it becomes a lot less "fun" - I miss the times I did it just for fun, and I didn't have the amount of pressure I have sitting on my shoulders.)
Don't let the lure of theatre tempt you away from another career that you might be very happy doing full time. Seriously, the best advice I can give anyone is if you can do ANYTHING else for a living and be happy, then please, please, please - do something other then theatre for a living. It's a hard way to make a living.
You can love theatre, and support it in so many ways - be a successful lawyer, and serve on a theaters board - offer legal advice to a local non-profit arts firm - there are countless ways for someone with eyes set on a life as a lawyer can support their love of theatre. Don't give up one dream, because a new one has come along - I mean, theatre is siren that can easily lure you it . . .
be careful.
Not everyone is going to able to pursue a career in theatre - it's like when a parent says their child can grow up to be president, but not every kid can be president - just because you have the talent, the desire and whatever, it just may not be in the cards to make it as a career. Doing it for the love of theatre, and on the side of another career is fine - there are some wonderful community theaters out there which give people of all walks of life the chance to make art, create theatre without the pressures of having to make money at it, or do it full time. (trust, once theatre becomes a HAVE TO DO to make rent, pay bills, etc - it becomes a lot less "fun" - I miss the times I did it just for fun, and I didn't have the amount of pressure I have sitting on my shoulders.)
Don't let the lure of theatre tempt you away from another career that you might be very happy doing full time. Seriously, the best advice I can give anyone is if you can do ANYTHING else for a living and be happy, then please, please, please - do something other then theatre for a living. It's a hard way to make a living.
You can love theatre, and support it in so many ways - be a successful lawyer, and serve on a theaters board - offer legal advice to a local non-profit arts firm - there are countless ways for someone with eyes set on a life as a lawyer can support their love of theatre. Don't give up one dream, because a new one has come along - I mean, theatre is siren that can easily lure you it . . .
be careful.
1095
Tools of the Trade / Re: Cleaning out an Office - what to do with all that STUFF?!
« on: Jun 03, 2011, 05:48 pm »
I think eventually you might figure out what is "keepable" and what is "tossable" - parents with a garage might be able to store stuff for the long term.
One of the benefits of a digital age is an entire show can be stored on a DVD . . .
One of the benefits of a digital age is an entire show can be stored on a DVD . . .