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Messages - loebtmc

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1186
Stage Management: Other / Re: Interviewing for Industrial
« on: Oct 18, 2006, 02:18 pm »
For industrials it's more PSM/PM work combined. You really need to be on top of everything and to get a great support staff for your A/V and other site-specific needs.

My industrial work also paid a lot more - it often falls into a grey area union-wise so charge enough to make you feel good about the fact that you won't sleep for a couple of days  - convention and industrials are often one-offs, so you get to the hotel and work from load-in through load-out without any time off, but it's usually not more than a week at a time so you get to sleep between cities.

Also, make sure they handle the hotel, food, transportation, petty cash, etc - and if they are in a hotel try to be housed in that same venue rather than down the street.  Gives you an opportunity to get to know the resident players and creates a good basis for shared services. Otherwise have them get you the closest place you can, walking if possible.

Always ask for the coffee maker in your room (and a minifridge if possible) - many of the hotels that do these kinds of things are upscale and expect you to order room service for hot water. Besides the expense, you can't guarantee it'll get there when you want it, the kitchen closes at a certian hour, and you may not be able to eat during normal times.  I know they pay for all my meals, but I always brought (or bought) snacks cuz my hours didn't mesh with markets, the restaurants etc.

The work is intense but great fun, exhausting but very exciting. And it's a trip to get to travel all over (altho often you never leave the performance venue other than your few hours in bed).

Good luck!


1187
SMNetwork Archives / Re: Call Board Karma: Keep or drop?
« on: Oct 02, 2006, 07:49 pm »
The karma listing seems very arbitrary - I am in favor of either eliminating it altogether, or not allowing negative karma points without a reasonable explanation.

1188
The Hardline / Re: AGMA?
« on: Sep 24, 2006, 01:30 am »
It's a different animal even though we both work with performers and on stages.

My friends who SM in AGMA - mostly for opera - bitch all the time because the negotiators always forget abt the SMs. Meals? Breaks? what are they? Turnarounds? who needs 'em. On the other hand, the trade-off for a weaker union and less protections is that the pay can be quite high - one friend calls it her hazard pay.



1189
The Hardline / Re: Light Board Pay
« on: Sep 19, 2006, 01:46 pm »
I actually like running the light board - we are, as they used to say, "the fifth actor" and we learn to breathe with our performance and performers - so running lights (and even sometimes sound) becomes an extension of that - esp on the old manual boards where you can adjust ever so slightly by nightly feel

BUT - no, they gotta pay you extra for it

BTW I have also run into many of those same "I do it but I'm not supposed to" with smaller SPTs - if the envelopes are sealed I will pass out paychecks, but I won't if they're not. That's my deal. Also, while I know an SM who hates ordering food and the like, I enjoy it, and it ensures that 1) I get to eat and 2) I get to eat something I like and am not stuck with pizza every meal-provision. But that's me, and that allows me some little perks along the way, because I can use it to trade out for stuff I need.

1190
The Hardline / Re: Light Board Pay
« on: Sep 18, 2006, 01:45 pm »
You are right, they are wrong. Running the board is extra. Period. The going rate in the LA area is $20-25 per show (tho you can negotiate more or less, as the case requires). If you signed your rider before negotiating this talk w AEA, but the fact is, you are supposed to be paid for doing any additional tasks. (And clearly your producers know this.)

Please point them to the section (54) of the SPT book that reads

J (8 ) Stage Managers or Assistant Stage Managers shall not be required to:
(a) Design, build, hang, transport, operate, shift, run, shop for or maintain lights, sound, scenery, props, video, wardrobe, animals,
and so forth;

AND

(D) Additional Services.
(1) Should a member of the Stage Management staff, while under contract for a production, be called upon to perform additional services
for any version of that production or for any other production in which the Producer bears a financial interest, the Stage Manager shall receive
additional compensation for such additional services in an amount which shall not be less than 1/6th of contractual salary for each day or part
thereof for which services are rendered. The Producer shall require no such service nor shall it be a condition of employment. (This provision
shall not prevent a Stage Manager signed to a Consecutive Production Rider, see Paragraph (F) below, from fulfilling rehearsal and
performance duties permitted therein.)


I have had two producers for whom add'l pay for running the board was a deal-breaker - so I made them hire a board op and it was a good think they did, since I had to do so many things during the show that I had to leave the booth on occasion to solve things backstage!

1191
Unless I am not understanding your qq, a prop list simply needs to state who brings it ON and who brings it OFF - you don't need to list its every mention in between, since business will be developed by the actors and director during rehearsal and may not match the script  - and besides, I don't care.....other than noting if there is behavior that will require doubles for later in the play or multiples cuz it gets broken nightly.

1192
The Hardline / Re: tracking time on an hourly contract
« on: Sep 04, 2006, 12:08 pm »
I actually like the 6-hr option when possible because it means I get to get on with my life and all the things I need to do - and days thick with choreography and/or music work better because the actors' brains can only assimilate so much at one time

but I had always put in for 6 hours when we worked 6, and used 8 when we worked 7/8.

(and most of the smaller contracts require tracking rehearsal hours by the SM so I am used to that)

it's just - well, weird that we have 36 actor hours to use (so nice and neat, six 6-hr days) but I am supposed to tell the company manager to pay those 6 hrs as 7? that's where I don't understand.....esp as we are doing this whole thing AS an hourly wage -

(and yeah, hourly wage sucks but hey, someone's gotta test this new thing)


1193
The Hardline / Re: MRE
« on: Sep 02, 2006, 03:03 am »
In theory, it's supposed to be only for other industry-related work. The idea is that the actor is agreeing to a compromise - accepting an LOA, referenced contract rather than a full contract,  or accepting a far lower salary, to benefit the producer/theater, and in return the actor may take other, better paying work concurrently - as long as it isn't in the week before opening or a handful of other restrictions, including proper and timely notice to the producer

1194
The Hardline / Re: tracking time on an hourly contract
« on: Sep 02, 2006, 02:47 am »
This is a HAT contract referencing level-freakin-A - it's an experiment, a per-performance with a health allotment at a low pay scale so the producer is encouraged to use a contract, give the actor health weeks, and pay a minimal salary -

and I get to be the test guinea-pig


1195
The Hardline / Re: tracking time on an hourly contract
« on: Sep 01, 2006, 02:25 am »
This is a HAT contract - and I will look up the latest language (since I know much of it has been updated since my rule book was printed) but still, hmmm - kinda weird, eh?

Anyone?

1196
The Hardline / tracking time on an hourly contract
« on: Aug 31, 2006, 12:35 am »
Need to check w y'all to make sure I am not hallucinating.....

Had a long discussion tonite w a rep this evening about using the 6-hr option and how to track it in an hourly wage base situation. My understanding is that we track the actual hours worked - if we opt for a 6-hr day, we get paid for 6 hrs (plus the minimal extra time SM's are entitled to have) -

but he was saying the producer would be paying a 6 hr day at full day rate - since the shorter day break the producer gets just means an hour less work (since the other hour would be lunch) -

I know it means less money on an already small contract, but am I totally confused?

thank you for weighing in


1197
The Hardline / Re: MRE
« on: Aug 31, 2006, 12:20 am »
Which contract are you working? Most MREs have very specific rules, and there are rarely issues when they factor in things like star talent and/or pre-existing conflicts. And auditions don't count. I have had directors very supportive of MRE clauses for certain things and not for others.....


1198
SMNetwork Archives / Re: Spike Tape Problems
« on: Aug 27, 2006, 11:46 am »
Unless the actor is really stalling, I remind myself that 1) actors can't move til the ghosting is out, not just the lamp 2) actors are moving from brightly lit to totally dark, while crew is moving from less dark onto more dark - I have had actors who are legally blind and had to be escorted off, or laid landing patterns in glowtape on the floor - and the crew has to adjust around such things - it's amazing how creative you can get when you have to get around actors whose eyes haven't adjusted  or can't move fast enough - and of course, we can suggest better actor exist to make all our lives easier.


1199
Employment / Re: Skills
« on: Aug 17, 2006, 02:35 am »
Boards vary widely - and wildly. When I am asked to run the board (and get my pay bump) I usually ask the LD for a review when I move into the  booth prior to tech, so I get to relearn the necessaries, including some adjustment things (like timing) so the LD doesn't have to come in for minor fixes. So I vote for not including that in your resume, but being willing to mention it if they have/know that system.

Since running the board is not supposed to be an official part of the job, let them ask you about how you feel and what boards/systems you know.

And for that matter, I have been on myriad ETCs, Strands, Leprechauns etc - but every single one has its own pecadilloes and the varying years of the boards have meant new and different shortcuts and, in some, placements on the board itself.


1200
College and Graduate Studies / Re: College advice
« on: Aug 14, 2006, 03:03 pm »
FWIW, this has been discussed at length over a couple of threads not too long ago in the Studends and Novice Stage Managers folder - you might want to give it a read since many things were mentioned at great length about majors and colleges and spare time (LOL) and so forth

good luck, and enjoy the reading!

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