Messages

1186

Stage Management: Plays & Musicals / Re: 'Billy Elliot' musical sued for $4 million

« on: Feb 15, 2011, 04:46 pm »

And this is why we have to watch our cast and crew members when they are handling stuff.

Seriously, there comes a time when you are working on size and scope of shows where you just can't watch everyone all the time unless the SM/Cast and crew ratios is 1:1 - and even then - I just can't imagine a SM team of let's say 120 people to do an opera.  The level of complicity on Broadway, Cirque, etc . . . are just complicated.  And things happen.

Just think about the show you are working on now (or the last show you worked on).  What chain of three events (just three) could have lead to something or someone ending up in the front row?  I am not sure you can ever anticipate the chain of events that would lead to ever possibilities - but you can make your best effort.

In my current show, we have a Vepsa an actor rides downstage and stops.  Every night pre-show he tests the Vespa.  But, he could, get on stage, and lose control of the Vespa or the brakes could fail, or the battery could surge or WHATEVER - but we are doing our best effort given standard theatrical safety practices.

If I wanted to create a 100% safe theatrical experience, then I would recommend everyone stay at home.  People get hurt ordering a pretzel.  And they sue.

If you read the article, it's pretty vague on the details - but apparently it was a plastic crate (this is form the Post - apologies for sending you to the post for news http://www.nypost.com/p/news/local/manhattan/ouch_show_smash_hit_UZN4qsZleOQq3t9b15QpKP)

The insurance will take care of it, drive up the cost of insurance for theatrical shows, driving up the profit margin . . . making this shows more expensive to produce - giving the producers more to complain about . . . sigh. 

I am sorry people got hurt (and the Post's description is pretty serious - but again it's the Post), I doubt it was a four million dollars worth of injuries - but if they feel like this BILLY ELLIOTT is causing enough injuries to people everywhere, and a message needs to be sent - then so be it.

1187

Self-Promotion / M4M in Central Park

« on: Feb 09, 2011, 11:59 pm »

I love the abbreviation, makes it sound like a craigslist hook up . .  .

Measure for Measure
2011 Shakespeare in the Park
June 6-July 31
Delacorte Theater, Central Park, NYC

Measure for Measure (My Show) in rep with All's Well that End's Well.

(Like I need to do ANOTHER Shakespeare, but . . . this should be a lot of fun).

David Esbjornson, currently represented with the Broadway revival of Driving Miss Daisy, will stage Measure for Measure.

Both productions were last seen during the 1993 Shakespeare in the Park season.

Pre-Production Starts May 14/21, 2011.

http://www.publictheater.org/content/view/126/230/

http://www.playbill.com/news/article/147214-Shakespeare-in-the-Park-Will-Stage-Alls-Well-That-Ends-Well-and-Measure-for-Measure-in-Rep

1188

Tools of the Trade / Re: Digital Prompt Books (Do you use them?)

« on: Feb 09, 2011, 07:49 am »

I wish I could make my method of laying out the script work in Pages - but the comments method just doesn't work complicated or tight calling sequences.

No matter what, I still need to print a script.  I have too many horror stories of kicking out the plug on my little light to trust my computer will stay plugged in.

1189

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 09, 2011, 01:01 am »

Yes, there needs to be less programs, and the programs that are out there need to be more aggressive.  Seriously, do we need this many Stage Management training programs?

There was a lot of talk about this years ago about acting programs putting out students who went back to get MFAs who then became acting teachers who just put out more acting teachers . . . thus creating more acting programs.

We do it for actors all the time . . . we don't cast them, don't give them sizable roles,etc.  And we don't bat an eye about it.

Here’s the thing ladies and gentlemen, keeping students in programs gives those programs money, and, again, money makes the world go around.  Head counts are important.

On the flip side, an education program is one thing - it should be a place for people to try to become something to get the education - I don't think I would ever tell a "Student" they shouldn't be anything - I would outline a course of action for them to grow. 

And On_Headset you are very right about a huge issues about some of these training programs, the more competitive ones get better students so they don't have to have this conversations, and some of the weaker programs that struggle to fill the slots they need to fill - they can't kick someone out - because they need the people for funding or just to do the shows they need to do. 

1190

Tools of the Trade / Re: Digital Prompt Books (Do you use them?)

« on: Feb 09, 2011, 12:49 am »

Downloaded and trie out Celtx.

Although I can see some pros in using it, I just did not find the freedom that comes with using word and call outs to customize it.

Anything that wants to do it's own formatting is bad.

And I have no idea how I wold write in cues for any sort of complicated sequence without sort of reinventing the way most stage managers call shows.

1191

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 08, 2011, 04:09 pm »

At the same time, the students who nobody was really sure what to do with (those who were not especially good actors, had no particular interest in playwriting, no talent for design or construction, not enough self-direction to do production management, not smart enough to keep up with academic cultural studies...) were also foisted off as ASMs and running crew in the hopes that this would at the very least keep them out of trouble.

ARE YOU FREAKING KIDDING ME.

Students who were didn't have a talent for something else were brushed into stage management . . .

this is why the market is flooded, in my opinion, with sub-standard, weak, under performing stage managers.  flat out.  the education system is flooding the market.

THIS ANGERS ME SO MUCH

1192

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 08, 2011, 11:25 am »

and in a school setting i think they are still learning . . . i am looking down the road . . .

1193

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: cell phones onstage

« on: Feb 08, 2011, 11:23 am »

i just dont want anyone to be shocked in the professional world to see the backstage aglow with cell phones from both cast and crew . . . . i mean, it just happens.

It, in some ways, helps keeps run crew onstage, rather then roaming, but on deck.

I worked with one sub run crew, who makes a living subbing on like 12 different Broadway shows who has all his run sheets on his smart phone.

That trick is controlling them and not banishing them.

The origional post was about keeping a cell phone off stage during a scene.  That is screwing around with the play.  Keeping a cell phone (turned on or off) off an actor in his costume while he is on stage is also an issue.

But keeping a cell phone off an actor or crew member in the backstage areas (depending on where they get reception) is going to be an impossible task, and is just going to come off as as little over bearing.  I can think of 100 reasons why an actor will want to have access to a (smart) phone during a show . . . and I think your staff should be focus on other things then policing cell phone usage backstage.

1194

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 07, 2011, 11:45 pm »

I too got this speech early in my career, from a stage manager who was supervising me - luckily I knew that this stage manager had a different style - and that my style and his style were never going to mesh.

Yes, there is no "right" way to stage manage, but there are skills, and there skill sets that a stage manager should have - people skills, time management skills, etc, that every stage manager has, or should have - and if they don't they, they should probably be told, "You know, you may find yourself fighting an uphill battle down the line."

Again, my personal thought on the matter is there are far too many stage managers flood the market, including some pretty bad ones . . . I am just trying to figure out a way to get the bad ones out early, for us, for them, for everyone.

1195

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 07, 2011, 10:34 am »

She went on to intern at other theatres for two more years. Eventually she went to school to become a dental assistant.

And I wonder if you speech started that process?

Perhaps a "A good stage manager does X,Y,Z and I'm concerned about your ability to do these things"

  But again, isn't this just tip toeing around the problem. 

Let's be honest, not everyone is going to make a good Stage Manager or Assistant Stage Manager?  Should they be told this, rather then encouraged to continue into situations where they do not have the skill set to be a success? 

1196

The Green Room / \"Have you thought about accounting . . . ?\"

« on: Feb 07, 2011, 09:08 am »

Okay, this one is for the more “seasoned” members of the crowd, but everyone might want to weigh in on this.

Often as a PSM, you will have a team, a ASM, a PA, a SM Intern (or two, or three . . . ); we are often not only leading a team of other experienced professionals, but put into a position of educator, which is one of the things I love about my job - and, to be honest, one of the things I miss about working in regional theatre full time.

But, there always comes a time when you get that one PA, one SM Intern, or, even an assistant stage manager, who, in your opinion, is just not cut out to make it in the business as a stage manager.

Let’s be honest, let’s cut through the niceness all the political correct bullcrap - not everyone who wants to be a stage manager, who has dreamed about doing this job has the talents, the chops, the right attitude and temperament to do the job.  And like so many other things in this business, I think there are things that can be taught, but I think there are things that you have or you don’t - and no amount of teaching or internships is going to give you everything you need.

Now, we are talking outside of high school or college, when a young stage manager is doing their first summer theatre job, an internship or PA-ship, would you or how would you pull someone aside and tell them, “You know, In think that this job may not be a perfect fit you?”  Or, do you let them go forth and suffer through for years to come.

Thoughts?

Post Merge: Feb 07, 2011, 09:09 am(Oh, and don't think because I asked the question I don't have my opinion, I do . . . and a very funny story to go with it . . . I wanted to get some conversation going . . . )

1197

The Green Room / Re: thoughts on sharing

« on: Feb 07, 2011, 09:00 am »

It’s interesting to think about what each of us WOULD share.

Job finding techniques, career shaping techniques, paperwork - each of us have a line.  And for some of us, I think it has a lot to do with how we define the job.  I don’t give a damn about paperwork, as my paperwork continues to evolve on each show (and technically, doesn’t really belong to me, but the show and the theatre I work for), so here, here is the paperwork I used for this show or that show.  How I guide my career . . . like hbelden, I am a little more secretive about that (I actually give a lot of, I think, good public advice, but the advice I am following is actually very specific given my career trajectory, current location and specific stage management style.)

There was one thing I wanted to address, and there is the notion that we are separated by age, experience and location - and the reality is, all of you are, and I don’t want to sound paranoid, are in some ways, my directed competition for jobs or soon to be.  Location is meaningless in this career, if you are willing to jump on a plane this afternoon (I always have my passport on me . . . how’s that for readiness?).  But the reality of the rest is, that although there is a stratification of stage managers, you are either a professional stage manager or you are not - after that . . . everything is up for grabs.  Yes, I have quite a bit more experience then some people in some areas, but if I was to start branching off into, musicals or opera, I would be years behind some people on this board.  If I were to pick up and move to the bay area, I would be putting my business up against stage managers who already have a market advantage in that area.  This is not even factoring in age factors, style factors, etc.  Let’s not discount that those graduating from college this year and just a couple of years away from going head to head for me for some jobs.  (That’s just a fact of life . . . )


About using my real name . . . it’s funny.  But when I started on this web site, I never thought to use a fake name . . . and never quite new how much this site would take off, or how much it would launch my name in the business.  Within certain groups, I am introduced as M. William Shiner, and three or four stage managers know me from this site alone.   I would never miss a chance at marketing and networking.


And Hbelden, I come up with interesting comments, mostly at bars, mostly at 1:30a in the morning, and mostly fighting with stubborn, older stage managers who should remain nameless. 

1198

The Green Room / Re: thoughts on sharing

« on: Feb 06, 2011, 10:58 am »

Another good laugh . . .

Yes, I've also noticed the influx of high school and college students into the forum. The ratio of students brand new to the field to those that have been plugging at it for a large part of their lives is growing. But by the time those students are at the level you are at right now, you're likely to be gone, either out of the industry or in a more permanent sense.

High school and college students will be stage leveling at LORT levels in 10  or 15 years or less, and hopefully (g*d willing) I will still be working, and hopefully not dead - I mean, I am "seasoned" and all . . . but not quite that seasoned.

I jest.

No, obviously, since I have been posting around here for almost the full 11 years, I do firmly believe in sharing with the community - theater is still a apprentice / journeyman based career model.  I do believe in Dallas10086, that perhaps there are things I should pull back in sharing, but maybe, just in the very nature of the job, there are things that are impossible to share or impossible to teach about this job. 

hose who believe that sharing their trade secrets will lead to their undoing (or unemployment) are probably insecure to begin with.

  Maybe / Maybe not - I think where you get to the very high end of this job - the competition for high profile jobs is extreme - especially when are talking about Broadway and above jobs - jobs that are in the $3,000 to $5,000 a week range.  Has very little to do with insecurity about oneself, and more to do with the insecurity about the business as a whole.

My answer is simply, "it's the right thing to do."

That said, I don't participate as much in the community as I might because I'm not an AEA stage manager. In general the prevailing attitude is that if you aren't AEA, then you aren't a professional.

Yes, I firmly believe it's the right thing to do, I just am not sure WHY it's the right thing to do. (And by the way - not being AEA doe not make you a non-professional stage manager.  Being AEA - just means you happen to have a stiff piece of a paper in your wallet . . . I mean, it means a lot more then that, but there are a LOT of professional Stage Managers this day who are not AEA)

And to be honest, our leader Kay, actually sums it up best why I feel most comfortable sharing in a competitive work place, even like the NYC scene

To those who are worried about lessening their own impact, I challenge   you - take it further. Learn what's here and then push it in your head   to the next level. Make it your own, make yours better than ours. If you choose to come back and share what you've   learned with the rest of the class, great, you've just raised stage   management to the next level as an industry. If   not, chances are that someone else will stumble on the same idea - maybe not as quickly as you, but they will think of it. They'll share it, they'll get the credit for it, and they'll build their rep instead. Personally, I think an SM with the confidence to share what they've learned with the world - and to do so with enthusiasm and vigor - is an SM who can handle anything that comes their way with aplomb.

If I only had Kay in my pocket in the bar . . . I mean, it would have had to have been a big pocket . . .


EDIT: Not THAT big! Although I do see a potential windfall in the ACME (tm) Pocket Stage Manager. -PSMK

1199

The Green Room / thoughts on sharing

« on: Feb 05, 2011, 11:58 pm »

I was having drinks with a stage manager friend of mine who is not on the network, but recently stumble on to this site . . . they spent some time on it, but ultimately decided not to join.

I asked why.  They had some valid reasons - but something very interesting, I never thought of, and it really caused me to pause. 

Some serious pause.

They said, “Why should I help other stage managers.  I mean, they are just going to be competing with me for jobs . . . for my livelihood.   Why should I be helping other people be better at that job I am trying to make a living at.”

There was a long pause in the conversation.  I ordered two more drinks.

I do have to admit this community is skewed a bit towards younger stager managers, and those of us who are more established in the business that continue to contribute to this community do so because we enjoy sharing and teaching - but it does beg the question - why?  Why should we continue to share and teach - to eventually add to the competition for jobs that are indeed in short supply.

Why should stage managers, who are competing in a very competitive market, be sharing and helping out in a very wide spread community like this?  I could see sharing and helping out in a more close knit, smaller “coven” of stage managers who more like minded, geographically bound and closely related in the type of work they do - stage managers who might work together . . . .but to be honest, I have to admit, I have been sharing a lot of information, and giving out a lot of free advice to people who might indeed be taking jobs away from me . . .

thoughts about this?

is this why there are not more seasoned stage managers actively participating in the community?  (or is that more a time / technology / age issue  . . . )

just interested to see why others continue to share . . .

1200

The Hardline / Re: Equity Crossroads

« on: Feb 02, 2011, 08:37 am »

(Slightly off topic . . . . but grumble, grumble, grumble about union that shuts up at 1:00p, but would expect us to go in and work . . . sigh)