1141
The Hardline / Re: Reports
« on: Apr 04, 2011, 05:39 pm »
Like in my book?
No.
No.
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.
1142
Students and Novice Stage Managers / Unpaid Interns, Complicit Colleges
« on: Apr 03, 2011, 09:07 pm »
A link to the NY Times Article . . . more food for thought on the Unpaid internship path.
http://www.nytimes.com/2011/04/03/opinion/03perlin.html?_r=2&src=me&ref=homepage
(And there is the link now . . .)
http://www.nytimes.com/2011/04/03/opinion/03perlin.html?_r=2&src=me&ref=homepage
(And there is the link now . . .)
1143
The Hardline / Re: More on the attacks on unions
« on: Apr 02, 2011, 04:41 pm »
But, what happens with the union wins an UNFAIR price, or over top compensation, or puts into place such a rigid rule . . . sometimes the inflexibility of the union is what is so frustrating to management, general management and the producers. (Even stage management - come, I have four crew members right there, but because one of them is not LX, they can't unplug that rover . . . sssh - but that's the rules.) On the flip side, once I see the union try to be more flexible in trying to let union members work on smaller shows with less rules, you start to see the producers ask for more - there is just a lot of greed in the business world - and this is, after all, SHOW BUSINESS.
We have to admit, many of the things union fought for have become law, so one can argue that the for some, the purpose of the unions is over in some industries - but I don't think that is the case in theater - I think these is something oddly special about our industry - and it has a lot to do with lure of being onstage (how many young performers would perform on a Broadway for $100 a week if given the chance? how many young stage managers would be an asm on Broadway for $200 a week?) - and the dangers of what we do - let's not forget what we do is a VERY dangerous occupation - it is. Theater is a full time, contact sport.
In a nutshell, I think in huge broad generalizations, Producers have abused people in the past, unions fought back, and perhaps now they have crossed the line, and may have perhaps overcompensated - and there would be some room to give up some stuff to allow an atmosphere for shows to be more lucrative - but what is the incentive for the working man to give up the money so the suit can make more, right?
We have to admit, many of the things union fought for have become law, so one can argue that the for some, the purpose of the unions is over in some industries - but I don't think that is the case in theater - I think these is something oddly special about our industry - and it has a lot to do with lure of being onstage (how many young performers would perform on a Broadway for $100 a week if given the chance? how many young stage managers would be an asm on Broadway for $200 a week?) - and the dangers of what we do - let's not forget what we do is a VERY dangerous occupation - it is. Theater is a full time, contact sport.
In a nutshell, I think in huge broad generalizations, Producers have abused people in the past, unions fought back, and perhaps now they have crossed the line, and may have perhaps overcompensated - and there would be some room to give up some stuff to allow an atmosphere for shows to be more lucrative - but what is the incentive for the working man to give up the money so the suit can make more, right?
1144
The Hardline / Re: More on the attacks on unions
« on: Apr 02, 2011, 04:12 pm »
No, that is true - if the cost of doing theatre went down, they would not reduce the cost of tickets - at least not the high ticket cost - that is set by something else entirely - supply and demand, etc.
Remember, producers put money into shows to make money, and that is why they charge what they charge - they are trying to make as much as money as they can why their show is still hot - before the show looses it’s luster.
But, there are things that producers would be more likely to do if the cost was lost . . . keep a show running longer, hiring adequate crew, etc, etc.
Remember, producers put money into shows to make money, and that is why they charge what they charge - they are trying to make as much as money as they can why their show is still hot - before the show looses it’s luster.
But, there are things that producers would be more likely to do if the cost was lost . . . keep a show running longer, hiring adequate crew, etc, etc.
1145
The Hardline / Re: More on the attacks on unions
« on: Apr 02, 2011, 02:30 pm »
What’s interesting is that this particular producer is an outsider, among a group of outsider type producers producing a show that is jumping through some very odd hoops (an off-broadway to broadway transfer, a broadway hiatus, a broadway theatre transfer).
His comment about the royalty pool for this show should be noted that the royalty pool for Rock of Ages is VERY tricky given it is a juke box musical with many, many different writers - and with songs that had huge lives with before they arrived on the stage. The show was also put together in a way that didn’t really have a large commercial run in mind.
From an outside business perspective, I would have to agree with the producer, some of the union rules are very anti-business, anti-profit, and raise the cost of doing business - but from an outside perspective, he is stepping into a history of years of producers abusing casts and crews, unsafe working conditions, and various other situations that leads to the unions current positions.
Do I personally believe the unions are too strong in some cases, and there are some silly costs, rates, minimums, etc, etc? Yes. I do think that unions, in some cases, may cross lines in driving up costs, that may shutter shows early, that may keep people out of jobs. But, I firmly believe that unions are responsible for safe working environment, living wages and working atmosphere that is more positive for everyone involved. Yes, there are hoops to jump through and expense, but it’s worth it in the end. Should it cost $600.00 to type a message to project on the back wall? No. (Although I doubt it was a simple as typing a message on the back wall . . . ).
I have a tremendous respect from producers who risk their money to pay people to do what they love; including my job. There is a huge gamble in making money in commercial theatre, and there are a LOT of people trying to grab a slice - a lot of people who risking very little and doing nothing. (And, like this producer, I am a new-comer to this whole commercial theater scene.) But, a the same time, the unions are trying to protect the livings wage and working conditions of their members, things the producers would cut to make more money on their return - because that’s not their concern. When a producer has their sights set on ONE show and the run of ONE show, everything is disposable, including the workers - which is why unions representation is so important to our industry.
His comment about the royalty pool for this show should be noted that the royalty pool for Rock of Ages is VERY tricky given it is a juke box musical with many, many different writers - and with songs that had huge lives with before they arrived on the stage. The show was also put together in a way that didn’t really have a large commercial run in mind.
From an outside business perspective, I would have to agree with the producer, some of the union rules are very anti-business, anti-profit, and raise the cost of doing business - but from an outside perspective, he is stepping into a history of years of producers abusing casts and crews, unsafe working conditions, and various other situations that leads to the unions current positions.
Do I personally believe the unions are too strong in some cases, and there are some silly costs, rates, minimums, etc, etc? Yes. I do think that unions, in some cases, may cross lines in driving up costs, that may shutter shows early, that may keep people out of jobs. But, I firmly believe that unions are responsible for safe working environment, living wages and working atmosphere that is more positive for everyone involved. Yes, there are hoops to jump through and expense, but it’s worth it in the end. Should it cost $600.00 to type a message to project on the back wall? No. (Although I doubt it was a simple as typing a message on the back wall . . . ).
I have a tremendous respect from producers who risk their money to pay people to do what they love; including my job. There is a huge gamble in making money in commercial theatre, and there are a LOT of people trying to grab a slice - a lot of people who risking very little and doing nothing. (And, like this producer, I am a new-comer to this whole commercial theater scene.) But, a the same time, the unions are trying to protect the livings wage and working conditions of their members, things the producers would cut to make more money on their return - because that’s not their concern. When a producer has their sights set on ONE show and the run of ONE show, everything is disposable, including the workers - which is why unions representation is so important to our industry.
1146
Self-Promotion / Re: M4M in Central Park
« on: Apr 02, 2011, 09:23 am »
I am . . . I am on the 4th floor today!
1147
The Hardline / Re: More on the attacks on unions
« on: Apr 01, 2011, 05:25 pm »
Well, we all have at times been frustrated by the limitations of unions.
At the same time, we understand the protections of unions.
Especially in a business so "un-traditional" as theater, having the protection of the unions sometimes is not only the difference between making a living wage or non-living wage, but can be a safe or dangerous working environment.
At the same time, we understand the protections of unions.
Especially in a business so "un-traditional" as theater, having the protection of the unions sometimes is not only the difference between making a living wage or non-living wage, but can be a safe or dangerous working environment.
1148
Stage Management: Plays & Musicals / Re: PAPERWORK: What to call someone who the script is "Adapted by"
« on: Apr 01, 2011, 12:01 pm »
adapter is the corrector term
like translator
like playwright
(unless there is some sort of other contractual term)
like translator
like playwright
(unless there is some sort of other contractual term)
1149
Tools of the Trade / Re: [FAQ] What goes inside a SM Kit?
« on: Apr 01, 2011, 10:29 am »
So, I have been having this debate recently with a couple of stage managers, about the SM kit . . . someone recently turned to me asking if I had something in my kit - a fairly expensive piece of equipment and then a fairly disposable (expensive) good - and I said no, and I was given a tad bit of attitude. And I stopped and thought - hmmmm, when someone hires me, they are hiring just me, not me and and my equipment - if they want to rent my whole punch, my really cool stapler, my lamination machine, my color printer, my copier, my lap top, my wireless router, my rolling storage cart, my pencil sharpeners, my scale rulers, my tape measures, my software, my . . . my . . . my . . . my . . . my . . . shouldn't there be some sort of rental fee attached to that.
Now, I cam see if I want to use my personal stuff because I like it better - my laptop because I like a mac over your ancient PC. Or I have a cooler printer. Or, whatever - but to be honest, I am sort of against the philosophy that your if you are hiring me your hiring a walking office supply store and first aide cabinet.
I know that I am usually working at a level that has a certain level of budget to support general stage management needs. But, I think it’s also about changing attitudes form producers from the ground up.
Now, I cam see if I want to use my personal stuff because I like it better - my laptop because I like a mac over your ancient PC. Or I have a cooler printer. Or, whatever - but to be honest, I am sort of against the philosophy that your if you are hiring me your hiring a walking office supply store and first aide cabinet.
I know that I am usually working at a level that has a certain level of budget to support general stage management needs. But, I think it’s also about changing attitudes form producers from the ground up.
1150
The Green Room / How to Steal Like an Artist
« on: Mar 31, 2011, 04:17 pm »
Just in case this has not made it across your facebook page . . .
http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things-nobody-told-me
I think a very interesting article . . . for the artist in all of us.
http://www.austinkleon.com/2011/03/30/how-to-steal-like-an-artist-and-9-other-things-nobody-told-me
I think a very interesting article . . . for the artist in all of us.
1151
Self-Promotion / Re: M4M in Central Park
« on: Mar 29, 2011, 08:47 am »
The ten of us break down as following . . . and when we get to the Delacorte, which is a vast maze . . . it becomes short.
On my show . . .
PSM
ASM
2 PA
1 SM Intern
The other Show
PSM
ASM
2 PA
1 SM Intern
Then as we get to the park, we vote 1 ASM off the island, and the PAs and SM interns become a combination of stage management and run crew.
On my show . . .
PSM
ASM
2 PA
1 SM Intern
The other Show
PSM
ASM
2 PA
1 SM Intern
Then as we get to the park, we vote 1 ASM off the island, and the PAs and SM interns become a combination of stage management and run crew.
1152
Stage Management: Plays & Musicals / Re: ASMS: AEA Actors as ASMs
« on: Mar 28, 2011, 11:03 pm »
It sounds like a concession . . . as I have heard it as a common concession that ASM who can't act/understudy to become a ASM who can understudy, ASM who can dance captain/understudy or ASM who can be in chorus. I have also had an a required AEA ASM be completely eliminated form the contract (Which, kids, is one of the reasons you should always read/sign your contract before the first day of work . . . ) on a concession with NO replacement - just waived - even though on the contract, given the cast size an AEA ASM would be required (And to be fair, SHOULD have been on the show) - in the end it worked out okay - the actor/PA I had was great . . .
1153
Self-Promotion / Re: M4M in Central Park
« on: Mar 28, 2011, 07:59 pm »
The playbill article . . . . .
http://www.playbill.com/news/article/149249-John-Cullum-Tonya-Pinkins-Michael-Hayden-Reg-Rogers-Set-for-2011-Shakespeare-in-the-Park
And the official press release - how hard would it be to have added the stage management team? I mean, there are ten of us . . .
http://www.playbill.com/news/article/149249-John-Cullum-Tonya-Pinkins-Michael-Hayden-Reg-Rogers-Set-for-2011-Shakespeare-in-the-Park
And the official press release - how hard would it be to have added the stage management team? I mean, there are ten of us . . .
1154
Tools of the Trade / Re: Bubbles!!!
« on: Mar 27, 2011, 09:27 pm »
That could make it slippery from the audience though . . .
1155
Stage Management: Plays & Musicals / Re: AEA Actors as ASMs
« on: Mar 27, 2011, 04:58 pm »
I guess it depends on the Actor . . . remember a lot of Stage Managers got their start as actors - and since they are going to have to agree to an ASM/Actor contract, they may already have an interest in it. You might want to go into with an open mind and see what happens . . . but . . . it really depends on how to producer frames what the job is . . . are the just filling the contract and not expected to do the job?