Messages

121

Employment / Re: Everyone's favorite topic: Networking

« on: Apr 01, 2015, 02:45 pm »

I agree with KMC - networking not looking for a job is cool; networking will looking for a job is a bit off-putting; networking searching for a job comes off as needy.

122

Employment / Re: Everyone's favorite topic: Networking

« on: Mar 31, 2015, 10:24 pm »

Networking has to line up with your own personal stage management.

I have some co-horts in the SM world that are VERY aggressive in their networking - it works for them, so who am I to judge.  It is a slight turn off to me - when I get a gig, and then they start trying to get on the team, or start circling me for cast off jobs. 

My personal style is to keep a tight circle of people I network with pretty regularly (it helps me keep up my networking skills, which are NOT my strength at all).  When I am looking for work, I tend to send the word out to that group, and then reach out to theaters / directors I know.   I have to say, I am very lucky and I don't have to rely too much on off-time networking to secure work - but more for networking I do while employed (remember, work begets more work). 

On the flip side, at my point in my career, I have a lot of earlier career stage managers reach out to me - and I will usually meet with them for coffee and chat.  Putting a face to a name and resume is critical.   A couple of these have landed interviews with me, and at least two have been hired for contract positions. 

In this business, people know that networking is important and it's part of this career - we are used to either having to do it, or be networked to . . .

123

Stage Management: Plays & Musicals / Re: Real weapons on stage?

« on: Mar 31, 2015, 11:04 am »

There are ways to make the units safe.  Just because they once were real, does not make they can't be made stage worthy.

124

Employment / Re: "What Not To Post": Job Listing edition

« on: Mar 31, 2015, 07:27 am »

Some companies, especially those tied with colleges or government venues, must publicly post all jobs.

125

Employment / Re: "What Not To Post": Job Listing edition

« on: Mar 27, 2015, 12:42 am »

I guess my MFA wouldn't count?

126

The Green Room / My 1 minute of fame

« on: Mar 25, 2015, 05:40 pm »

On Playbill.com

http://www.playbill.com/multimedia/gallery/photo-exclusive-a-two-show-day-at-paper-mill-with-the-hunchback-of-notre-dame-star-michael-arden-345191/23


My lead actor's photo of me . . . describing me as glorious and hysterical.

127

Employment / Re: "What Not To Post": Job Listing edition

« on: Mar 24, 2015, 02:42 am »

Hiring a SM is hard, obviously done by someone who doesn't it do that often, or had a very specific history they were trying to avoid.

128

Stage Management: Plays & Musicals / Re: SCHEDULING: When do you start getting involved with scheduling?

« on: Mar 22, 2015, 12:42 pm »

Usually prep week, but sometimes on specific projects earlier.

Depends on when I am brought on board.

129

Stage Management: Plays & Musicals / Re: REPORTS: Rehearsal Report Question

« on: Mar 22, 2015, 12:42 pm »

I've been in this situation.

I think the key is at the start of the process, always show the director the report prior to sending it out - so they get a sense of what you are putting into the reports.

You can, as other have mentioned, today we worked with three chairs for scene three.  Or POSSIBLE ADD: Two Small potted plants - where you are giving them a heads up that it might be added down the road.

My director who had this issue was he would sometimes lie to an actor to get through a difficult scene (Like, oh, sure we can add two chairs to this scene), but it was always his intention to have zero chairs in the scene.

But I always put everything into the report, with the caveat things can change - and they do.

 

130

Students and Novice Stage Managers / Re: Bad ASM's

« on: Mar 11, 2015, 01:32 pm »

Remember, there is no right way to stage manage, just wrong ways.

One person can easily sit in judgement of another stage manager and their style.

Yes, there are things perhaps a stage manager maybe failing, but as a student, it seems like that is what they are paying for the opportunity to learn, fail, and grow from it.  (If this was a professional environment, it would be something different.)

Now, as ASM, in this situation, I would do everything I could to support the PSM, doing the best job one could do, and see if there are tasks that the ASM can take over the PSM - maybe part of the issue is they are overwhelmed.

But hard to give specific advice without specific issues being raised.

If his unprofessional behavior, for example, is hitting actors with 2 x 4's, then I was suggest taking away the 2x4's.

131

Stage Management: Other / Re: Orchestra Calls

« on: Mar 06, 2015, 12:51 am »

In America, the union orchestra sets themselves by curtain (at the places call).

I have never had to have a separate orchestra call - except to tell them at times the pit is available for seating for a rehearsal.

132

Employment / Re: Dear Abby: ASM/PSM serious personality clashes (and a bad SM to boot!)

« on: Feb 27, 2015, 01:40 pm »

I don't to assist a lot, but I do work with some difficult directors, and I always get questions like . . . "how was it t work with . . . " and I know there is a little bit of baiting.  For those who don't know me in real life, I am VERY opinionated, but even for the most "difficult" director, I am able to do the art of the spin - and that is part of management. 

If you have strong opinion about this working relationship . . . and don't feel comfortable asking about it . . . drop the show from your resume.    If they still know or ask,the be prepared with the most politic answer you can.

Some times it's not about WHAT you say, but how you say it - and a PM/GM/SM is interest to see how you answer a difficult question - that's why we ask questions like "tell me about your weaknesses", "tell me about you situation where you felt you could have done better", "what was your worst stage management experience" - yes, what you chose to answer is interesting . . . but HOW you answer is more interesting.

In your case, you can focus how two people with different styles worked together - where were the success - what did you learn from the failures . . . not every production is all sunshine and lollipops . . .

133

The Green Room / Re: Odd legal stuff you've learned

« on: Feb 27, 2015, 11:38 am »

Learned a lot about HR stuff - hiring (like avoid writing on resumes you notes from the interview), firing, pay, giving references, harassment.

OSHA rules . . . and how they change from state to state, city to city, venue to venue . . . and how people say OSHA says . . . when it's really in house policies.

Lots of about drinking, drugs . . . work environment.

134

Employment / Re: Why didn't I get the job?

« on: Feb 24, 2015, 02:14 pm »

It's not that I wouldn't hire someone without experience . . . but if it is between two candidates, I might side with the one who has experience on the contract.  These are reasons I wouldn't for sure not hire one, but could be part of the thought process why one good stage manager is passed over for another stage manager.  If a PM, GM or PSM (whomever is doing the hiring) is smart, they are going to put together the strongest team they can get for their money. 

I recently did an OFF Broadway show, where the ASM had never been on AEA contract before, let alone an off-Broadway contract.

My current show is currently being producing on a COST contract, so I made sure one of my team members had experience on the COST contract to flag with something.

Even if you just PA'ed or intern on the contract, hopefully you were paying attention, and picked up some of the experience.

Most of my big break thrus have been based on someone knowing me and my work - and going - "you know, he hasn't done a commercial show before, but he has the all the skills, and I believe in him" or "you know, he has never done a big musical before, but he has done some really big straight shows, and I really like working with him".

LisaS, it's  a rough business - and getting past those walls and moving to bigger ponds are part of the career - and part of the career that is a big challenge.



And remember, this wall against you is something you will hit long after you drop the term "YOUNGER" - I have lost out out on some commercial projects because I have had zero Broadway experience . . .

135

Employment / Re: Why didn't I get the job?

« on: Feb 23, 2015, 10:03 pm »

It depends on the job and position . . . would I hire someone with only education experience - not on any show I am currently attached to . . . but someone who is just in school would not be a good fit for either project . . .

But, for an internship or a PA with a smaller (regional) theater might be just the right first step for you.