1111
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
Show Posts
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
1112
Tools of the Trade / Re: [FAQ] Electronic Prompt Copies
« on: May 01, 2011, 02:29 pm »
One of the main advantages of using a digital version of the script to lay our your calling script is the mobility of the text.
You have a huge cue sequence between two lines, you can spread those lines apart, insert a page break, reorder text - whatever. Once you PDF the document, you loose that ability, right? I love being able to restructure the script to make it work for cues - as opposed to try to scribble the cues in tight corners around the text.
If you are just doing an Electronic Prompt Copy of the script to make it look neat or have a digital copy, I doubt it's worth the work - unless like me, you have really crappy hand writing.
I also still wonder about TECHING directly to an electronic script - I think if you are taking the time to put into the e-copy you are going to slow down tech . . . I still think you can, in the heat of the moment, tech faster with pencil (or pen) and paper.
You have a huge cue sequence between two lines, you can spread those lines apart, insert a page break, reorder text - whatever. Once you PDF the document, you loose that ability, right? I love being able to restructure the script to make it work for cues - as opposed to try to scribble the cues in tight corners around the text.
If you are just doing an Electronic Prompt Copy of the script to make it look neat or have a digital copy, I doubt it's worth the work - unless like me, you have really crappy hand writing.
I also still wonder about TECHING directly to an electronic script - I think if you are taking the time to put into the e-copy you are going to slow down tech . . . I still think you can, in the heat of the moment, tech faster with pencil (or pen) and paper.
1113
Tools of the Trade / Re: [FAQ] What goes inside a SM Kit?
« on: Apr 27, 2011, 06:50 pm »
For many reasons, I also don't provide ANY medical supplies.
None.
The theatre needs to purchase and supply all of that. It's just a liability issue I don't want to take on. (Someone gets sick take an aspirin I bought . . . am I liable???)
None.
The theatre needs to purchase and supply all of that. It's just a liability issue I don't want to take on. (Someone gets sick take an aspirin I bought . . . am I liable???)
1114
The Hardline / Re: AEA ASM?
« on: Apr 27, 2011, 09:46 am »
The reality of the situation is that even if you slip a note to Equity after the fact, many people still live in fear of the producer reverse engineering who blew the whistle. And all the way to top in NYC, people are afraid to be labeled as “that guy” (or “that gal”) who complains or rocks the boat for fear of NOT being hired. In a market where there are literary hundreds of stage managers in NYC, there is actually a stronger fear of being labeled as such (especially when there are such high paying jobs on the line) – this is part of what fuels the no-paying/low-paying job mentality in NYC. And we can say what we want that the union will protect us, but I am not sure in a job market like ours, where hiring is SO subjective, that anyone could keep someone from being blackballed.
People don’t want to rock the boat.
The reality of the situation is the AEA is actually very open to making compromises ahead of the time – especially for small theatres – it’s just a matter or open and frank conversations, and going through the Letter of Agreement process. It’s just about being open to the union, and I fear many producers will always see the union as “the evil” villain, and won’t have such a candid conversation. But, I have to say, when I was in a staff position, every reasonable compromise that producer went to the union about was granted, with some conversation. (The key being “reasonable”, there was some unreasonable requests.)
People don’t want to rock the boat.
The reality of the situation is the AEA is actually very open to making compromises ahead of the time – especially for small theatres – it’s just a matter or open and frank conversations, and going through the Letter of Agreement process. It’s just about being open to the union, and I fear many producers will always see the union as “the evil” villain, and won’t have such a candid conversation. But, I have to say, when I was in a staff position, every reasonable compromise that producer went to the union about was granted, with some conversation. (The key being “reasonable”, there was some unreasonable requests.)
1115
The Green Room / ARTICLE: How to say no
« on: Apr 26, 2011, 12:37 pm »
(No I feel like my mother clipping articles)
But here's on on how to say no in the workplace.
Interesting for us stage managers who might take on a tad bit too much.
http://www.chrisbrogan.com/how-to-say-no/
But here's on on how to say no in the workplace.
Interesting for us stage managers who might take on a tad bit too much.
http://www.chrisbrogan.com/how-to-say-no/
1116
Employment / Re: Civilian Jobs?
« on: Apr 25, 2011, 06:50 pm »
Here's my big advice.
Don't create an escape plan.
If you are going to commit to this as a career, commit to this as career.
If you have a side job, you are going to very quickly realize that there are easier ways to make money that involve a lot less time, commitment, etc.
But, if you say, I have to make a living as a stage manager, and only stage management, you are going to run you career as a business, and make choices base as business.
If you are constantly having to subsidize your career by holding other jobs, then maybe it's time to get another career?
(now in reality, there are always going to be some need of bridge jobs and issues, but if you are spending more times working at Starbucks . . . there is an issue)
Don't create an escape plan.
If you are going to commit to this as a career, commit to this as career.
If you have a side job, you are going to very quickly realize that there are easier ways to make money that involve a lot less time, commitment, etc.
But, if you say, I have to make a living as a stage manager, and only stage management, you are going to run you career as a business, and make choices base as business.
If you are constantly having to subsidize your career by holding other jobs, then maybe it's time to get another career?
(now in reality, there are always going to be some need of bridge jobs and issues, but if you are spending more times working at Starbucks . . . there is an issue)
1117
Employment / Re: To Break or Not to Break
« on: Apr 19, 2011, 11:25 pm »
We I get a signed contract in hand.
(I know, I know . . . breaking one contract without a signed contract in the other - silly me, but I felt I had to give Job A as much notice as I could - and if Job B backs out, they are in quite a bit of trouble.)
Stillcaring about other people more then me . . .
(I know, I know . . . breaking one contract without a signed contract in the other - silly me, but I felt I had to give Job A as much notice as I could - and if Job B backs out, they are in quite a bit of trouble.)
Stillcaring about other people more then me . . .
1118
Employment / Re: To Break or Not to Break
« on: Apr 18, 2011, 08:51 pm »
I broke.
It was a hard decision, and it wasn’t a hard decision, but it shows how very complicated this career can be, and the further you go down the path, it doesn’t get easier, it just gets messier.
RuthNY is very right about making sure as you book ahead, you book not only the type of jobs you need to take (for health weeks, for rent, for life), but the jobs you want to take. But, I am afraid no matter how well you plan, there is always going to be a gig that trumps the one you have in hand.
It’s just about what’s the “breaking” point.
Mine was across the board a better gig in all categories - 30% better pay, 20% longer contract, larger staff, more well known director, more well know theatre - but the two things that it really come down to had to do with one thing - the future.
My future and the future of the project.
The show I am breaking a contract to do is a musical, and for those who have seen my resume, and know of my work do know I have spent a large part of my professional work doing classical theatre. Also, I have happened to move to New York City - and they seem to do quite a few musicals here. So, to help my marketability in this market, I have been looking to get a musical on my resume.
Second, this show has a (slight) possible future life (I mean - at this level, I guess they always say that.) So, it’s a bit of a gamble . . . but why not. Even if I knew it had absolutely no life of a run after my 9 weeks on the show - I would still do it - but with that attached to it - why the hell not? And in the end, it’s a new relationship with a new theatre - and that may lead to new work.
So, I called the production manager of the job I had to leave, and we had a very good call - short and sweet, he understood completely - I was leaving for the right reasons, and giving him 10 weeks notice - to find a stage manager based in New York - where there are quite a few stage managers. We left with the door open that in the future, I could return.
How to move ahead in the future . . . I don’t know. I think I am not going to book too far in advance, especially based in New York. If I am going to take a job outside of NYC or book ahead of time, it has to have two hooks . . . not just a gig, but a gig with some other plus, some other thing - high profile project, fulfilling a gap in my resume, fulfilling a gap in my calendar, doing a show in specific geographic region I want to work in, working at a theater I want to work at, working with a specific director I want - I need a strong hook to keep me attached to the project - because at the end of the day - you don’t want to be known as someone who continues to jump contracts.
But at the end of the day, there are gigs better then other gigs, and you might just be dumb to let them go by.
It was a hard decision, and it wasn’t a hard decision, but it shows how very complicated this career can be, and the further you go down the path, it doesn’t get easier, it just gets messier.
RuthNY is very right about making sure as you book ahead, you book not only the type of jobs you need to take (for health weeks, for rent, for life), but the jobs you want to take. But, I am afraid no matter how well you plan, there is always going to be a gig that trumps the one you have in hand.
It’s just about what’s the “breaking” point.
Mine was across the board a better gig in all categories - 30% better pay, 20% longer contract, larger staff, more well known director, more well know theatre - but the two things that it really come down to had to do with one thing - the future.
My future and the future of the project.
The show I am breaking a contract to do is a musical, and for those who have seen my resume, and know of my work do know I have spent a large part of my professional work doing classical theatre. Also, I have happened to move to New York City - and they seem to do quite a few musicals here. So, to help my marketability in this market, I have been looking to get a musical on my resume.
Second, this show has a (slight) possible future life (I mean - at this level, I guess they always say that.) So, it’s a bit of a gamble . . . but why not. Even if I knew it had absolutely no life of a run after my 9 weeks on the show - I would still do it - but with that attached to it - why the hell not? And in the end, it’s a new relationship with a new theatre - and that may lead to new work.
So, I called the production manager of the job I had to leave, and we had a very good call - short and sweet, he understood completely - I was leaving for the right reasons, and giving him 10 weeks notice - to find a stage manager based in New York - where there are quite a few stage managers. We left with the door open that in the future, I could return.
How to move ahead in the future . . . I don’t know. I think I am not going to book too far in advance, especially based in New York. If I am going to take a job outside of NYC or book ahead of time, it has to have two hooks . . . not just a gig, but a gig with some other plus, some other thing - high profile project, fulfilling a gap in my resume, fulfilling a gap in my calendar, doing a show in specific geographic region I want to work in, working at a theater I want to work at, working with a specific director I want - I need a strong hook to keep me attached to the project - because at the end of the day - you don’t want to be known as someone who continues to jump contracts.
But at the end of the day, there are gigs better then other gigs, and you might just be dumb to let them go by.
1119
The Green Room / Re: Stage managing and relationships
« on: Apr 18, 2011, 02:29 pm »
Oh don't get me started on friendships, even those in the theater don't quite get the idea of our time commitment and dedication to the production. I have given up a long time ago on "civilian" friends - I maintain a bunch of friendships through facebook, phone calls, internet, etc . . . but at the end of the day, between show, commute, dogs, and my partner, I need time for myself. I have sort of enjoyed the fact most of my friendships are those in the theater . . . at least they "get" what I do, and understand it.
1120
The Green Room / Re: Stage managing and relationships
« on: Apr 18, 2011, 02:01 am »
I feel like we may have talk about this before . . . might want to do a search.
But I can say, my first marriage was was not helped by my career choice, and probably it's end was helped out by the fact I was not a 9 to 5.
I am currently in a great relationship with a very understanding "civilian", but we are now testing out the waters as I transition from being a resident SM to be a freelance SM - and dealing with things - like, being out of town for 8 to 10 weeks at a time . . . we are learning. We are learning.
I think everyone needs to learn how to deal with itself; people need to be open, honest and communicate. You need to set up your own time for you YOUR time. It's very easy for anyone you are in a relationship to feel like they are playing second fiddle to a show, or the career - and that's something that is very hard to shake. Considering out job is about 60 hours a week . . . it leaves very little time time (And energy) to commit to a relationship. I have to admit, it's hard work to make it work when everything is fine in the relationship. When things are not so good, it becomes very, very complicated.
But I can say, my first marriage was was not helped by my career choice, and probably it's end was helped out by the fact I was not a 9 to 5.
I am currently in a great relationship with a very understanding "civilian", but we are now testing out the waters as I transition from being a resident SM to be a freelance SM - and dealing with things - like, being out of town for 8 to 10 weeks at a time . . . we are learning. We are learning.
I think everyone needs to learn how to deal with itself; people need to be open, honest and communicate. You need to set up your own time for you YOUR time. It's very easy for anyone you are in a relationship to feel like they are playing second fiddle to a show, or the career - and that's something that is very hard to shake. Considering out job is about 60 hours a week . . . it leaves very little time time (And energy) to commit to a relationship. I have to admit, it's hard work to make it work when everything is fine in the relationship. When things are not so good, it becomes very, very complicated.
1121
Tools of the Trade / Re: Fight certification
« on: Apr 15, 2011, 08:21 pm »
Yes, I think a stage manager should feel comfortable around fight work, but to be honest the time, the work and the cost to be certified may be a bit of over kill. It’s like . . . as a stage manager, we should know basic sewing skills, but I don’t need to be a draper.
BUT, if you have an interest, and you feel like you need more education in the area, go for it. (Chicks with swords . . . very sexy . . . and that’s coming from a middle age gay man . . . )
BUT, if you have an interest, and you feel like you need more education in the area, go for it. (Chicks with swords . . . very sexy . . . and that’s coming from a middle age gay man . . . )
1122
Employment / Re: Websites
« on: Apr 15, 2011, 08:19 pm »
No, I don’t think anyone looking for a stage manager googles “Stage Manager” and hires based on that - but having a put together web site does a bunch of things.
Allows you to put together a more complete sales package other then just a cover letter and resume, and present a strong professional image.
If you own the domain name, allows a more personalized and professional image.
I think, as time goes on, it’s just going to be an expected part of business practice.
I recently DID get a job from me web page. A director was pitching me to a regional theatre I have never worked at, and the googled me, my web site came up, with my resume, production photos - and they were able to get a really strong sense of who I was and the level or work I did - and had the resume in hand IMMEDIATELY to make a decision to “bring me in for an interview”.
Although, funny story, I USED to have a section on my web site that said UPCOMING projects, which listed a show I had booked for the fall, and when they saw that, they initially did not contact me - even though the show they were going offer was a longer contract, 30% more money, possible future life, bigger theatre, bigger director, etc, etc. They only came back to me after some backdoor conversations and when they had an offer pretty much in hand so IF i was interested I could make up my mind and give notice right away.
It worked out VERY well, and I have now deleted that section on my web page.
Allows you to put together a more complete sales package other then just a cover letter and resume, and present a strong professional image.
If you own the domain name, allows a more personalized and professional image.
I think, as time goes on, it’s just going to be an expected part of business practice.
I recently DID get a job from me web page. A director was pitching me to a regional theatre I have never worked at, and the googled me, my web site came up, with my resume, production photos - and they were able to get a really strong sense of who I was and the level or work I did - and had the resume in hand IMMEDIATELY to make a decision to “bring me in for an interview”.
Although, funny story, I USED to have a section on my web site that said UPCOMING projects, which listed a show I had booked for the fall, and when they saw that, they initially did not contact me - even though the show they were going offer was a longer contract, 30% more money, possible future life, bigger theatre, bigger director, etc, etc. They only came back to me after some backdoor conversations and when they had an offer pretty much in hand so IF i was interested I could make up my mind and give notice right away.
It worked out VERY well, and I have now deleted that section on my web page.
1123
Employment / Re: To Break or Not to Break
« on: Apr 14, 2011, 10:51 pm »
Very good advice RuthNY!
1124
The Hardline / Re: More on the attacks on unions
« on: Apr 14, 2011, 09:27 pm »Quote
Of course though they say how much they want to continue working with the unions and see them as vital to their success they are shutting down the Equity tour and allowing one of the non-Equity companies to take it over.
Chances are the producers are not the ones behind the non-union tour; it usually is another production team - although there is some money involved - it is often an entirely different organization - often more then just a different shell business that is set up for a Broadway company and a touring company.
1125
Employment / Re: To Break or Not to Break
« on: Apr 13, 2011, 02:35 pm »Quote
Sounds like you already know what to do in your own situationGood topic!
Sadly, I don't know what to do in my situation - it's not really clear, and it's not really easy.
Although I think I know what my decision is going to be - it's becoming a bit more clear cut. I think I will be able to talk about more clearly and be able to sort of post-mortem it with the group next week. I learned a bit - especially from some cohort and partners in crimes - who I have sought advice from. It has been good to get some outside advice.
But here's a little tidbit.
It never get's easier.
Yes, you may be dealing with high class shows or high class decisions, but everything just gets elevated, and more high profile when you work in larger markets - and there is a lot more pressure.