Messages

121

Employment / Resume paper

« on: May 22, 2007, 09:19 pm »

I have been on the sending and receiving end of resumes for many many years, and still each time I go to send out a resume I pause at the printer trying to figure out what kind of paper to use.
I have lovely dusty moss-green paper that I adore and find entirely professional... but will the person who opens the envelope agree with my taste?
I also have an ivory parchment style paper that is nice, but it is just another resume paper.
Then there's always standard white paper, because who really cares anyway?
Depending on the position/company, I might select any of these papers any given day.

When I hire, I really don't care much what the paper is like as long as it has a nice weight. I enjoy a quality linen texture - it impresses me, but I know this is just a detail. As long as there are not pictures of Loony Tunes dancing around the border (seen it) - actually, preferably no graphics at all, please - I have never really cared much about resume paper from others' applications. But when it's my own application, this stops me dead in my tracks.

So, dear SMNet friends, what kind of paper do you use? Can I use the green paper I love so much or are you going to tell me to stick with the standard linen resume stuff?

122

Employment / Re: What program do people prefer for typing up resumes?

« on: May 22, 2007, 09:11 pm »

If I see a headshot on a resume I immediately guess the person might be German. (It's standard CV format for Germany in all industries.)
But the failed actor worry does follow soon after...

123

College and Graduate Studies / Re: NC School of the Arts

« on: May 15, 2007, 08:18 am »

Since we're trading hearsay here...
I spoke with a hiring professional at a major company and she referred to NCSA as "NC School of the Attitude" and insisted that her company is disinclined to hire grads from this school. She claimed candidates from NCSA were often spoiled and expected a certain procedure and protocol that didn't really apply to the real world chaos of the theatre. She said they were not good at thinking on their feet and had a certain air of entitlement because of their undergrad pedigree.

I'm not endorsing her comments or attitude, but thought it might be useful for fellow posters to realize that this attitude and preconception was out there - from those on the hiring side.

124

Students and Novice Stage Managers / Re: SMing children!

« on: May 12, 2007, 08:09 pm »

It sounds like you won't be working with any this young, but when working with very young children (5 years and younger), here are a few things to add to your kit:
- hand sanitizer, and lots of it
- Airborne, Emergen-C or whatever you take to boost your immunity... and lots of it
- baby wipes - for messy mouths, snotty noses, etc
- a couple of pull-ups diapers (those transitional diapers toddlers wear)
- a couple of extra pants and extra shirts that have flexible fit. If the kid has an accident, these will save everyone's day
- a few gallon-size freezer bags for storing the clothes the kid was wearing when s/he had an accident
- plenty of fun band-aids (Spiderman might be nice right now)

Also with very young kids, you need to prepare them for aspects of the theatrical environment that they might find frightening. They might find the darkness backstage scary, so take a minute early in rehearsals to sit with them, show them around, introduce the scary biker stagehands (who are always nice as can be), and reassure the kids that they are safe. They might be scared by the bright lights, so practice bringing up the light levels while they're onstage (if you can). They might be terrified of the soprano screeching her aria in their ear while she clutches her child actor - so make sure they spend time with the performer beforehand and that she explains how she acts and sings. Again, reassure the child that they are safe and be sure that they feel comfortable. Make sure the child knows what to expect. Let them ask questions and give them honest and informative answers. Also take time to talk with the child about reacting (specifically NOT reacting) when the audience laughs. Be sure the child knows where to look or whom to watch so that the kid isn't gawking distractedly at anything on- or offstage. Give them focus and they'll do well in performance. If there is violence, cursing, blood, or death onstage, talk with the child about it - ideally with the parents present - and reassure the child that no one really dies or is hurt in this theatre. We are pretending. Kids do understand this, but they get scared.... well, when the acting is convincing.

But in general, keep your patience and watch your language. Kids are observant and inquisitive, and might like to ask questions of you constantly. If you give them respectful, simple answers, they will appreciate it and generally cooperate with you. Take the time to explain why they have to stand in a line when preparing for their entrance. Be ready to check shoelaces, glasses, bubblegum when preparing them. Remind them that safety is important backstage, and assure them that they are in a safe place. Keep your sense of fun and your calm demeanor.

125

Stage Management: Other / Re: My first opera! The Magic Flute

« on: May 12, 2007, 07:22 pm »

So...
How's Flute going?
This is a really killer opera. I didn't want to tell you at first, but many professional opera SMs live in fear of this one. 

I hope your production is going well!
Toi toi toi

126

Students and Novice Stage Managers / Re: Trouble ASM

« on: May 12, 2007, 07:19 pm »

Whilst we all seek to nurture young student SMs and harness "raw talent", there must be clear guidelines for acceptable behavior, the most important being safety. In order to deal with a problem worker, there needs to be discipline. No one can be afraid to say to him "don't do that," and to punish him when he does it again. As much as you can, define the problem as one of behavior and not one of emotion. As others have mentioned, you can alter behavior and actions more than you can adjust attitudes. People often turn away or isolate the problem person because we might not want to create more conflict by confronting him. And by confronting I don't mean shouting - just setting clear definitions of un/acceptable behavior. When they mess up, tell them, and when they mess up enough, say goodbye. When you deal with problem situations directly, you are also respecting the problem person by giving them a chance to do better by giving clear directives on how to improve their behavior and performance. And if you need to let them go, they'll know why. But your reasons must always be good and clear ones, especially in the tumultuous arena of student theatre.

127

Stage Management: Plays & Musicals / Re: Who Runs the Tech?

« on: May 12, 2007, 07:05 pm »

Working in opera, I never ever get a technical rehearsal. No cue-to-cue, sometimes barely even a pause to be sure a scene change ran well. In larger companies, major set changes or special fx (fire) might get a dry run. Sometimes I would try to run shifts at the end of building calls or at the tail end of a rehearsal, but there are dicey union issues in trying to do this. Really, the lighting sessions (setting levels) are kind of considered your tech rehearsals. When the singers are onstage and the orchestra is in the pit, you're never given the time to focus on tech; Everyone just digs in and makes it happen. Miraculously, we always get through okay. But you're adjusting cues right up to opening night (and sometimes beyond).

128

Employment / Re: Mileage for Non Union

« on: May 03, 2007, 08:47 am »

It seems to me that at least they owe you the cost of the cheapest applicable flight they (or you) can find.
That might come close to equivalent mileage, but would probably be less than a mileage reimbursement.

Maybe you could ask for a gas reimbursement? Save your receipts, and depending on what kind of mileage your car gets, you might be talking about @>$500 back in your pocket. The mileage reimbursement theoretically takes into account wear-and-tear on your vehicle, so it's more than simply the cost of gas. This could be an alternative solution for you and the company.

I think you're approaching this in the right way. The company needs to realize that they will have this problem with any non-local SM they hire, and they should plan budget and travel logistics accordingly. In the meantime, you can only decide what solution and fee/reimbursement balance is best for you.
I hope it works out!

129

Employment / Re: Mileage for Non Union

« on: Apr 30, 2007, 08:55 am »

The current federal mileage reimbursement rate is $0.485. It changes every year, so keep an eye on the IRS website:
http://www.irs.gov/newsroom/article/0,,id=163828,00.html

Keep in mind that non-union employers are not required to reimburse your mileage at this rate, or at all. If it's not in your contract, you're asking for a favor - and it's always worth asking. Remember that you can claim up to the federal mileage rate on your taxes at the end of the year. If the company reimburses you partial mileage (say, $0.20/mile - unusual, but I've seen it happen), you can claim the unpaid difference on your Schedule C (if you file as a US sole proprietor for your SM work).

If it's 2300 miles away, what would they do if you did not have a car? Fly you? Could they pay you the equivalent airfare for use of your personal vehicle? By the way, you could negotiate the one-way miles to get you to the gig, but it would be extremely unusual to reimburse your local (around-town) travel while onsite. Don't push your luck!

If you do decide to get mileage reimbursed, you should show up at the office on your arrival with a printed-out Mapquest from your front door to the theatre office's front door. They will treat this document like a receipt for miles driven. Highlight the total miles. Attach a homemade "mileage summary" doing the reimbursement calculation for them - always happy to help when it gets me paid faster  .

130

Students and Novice Stage Managers / Re: Trouble ASM

« on: Apr 28, 2007, 07:06 pm »

If this person really is a walking disaster... um, is a fly rail really the best place for him?
Let's see if we can put him somewhere where he is likely to hurt himself or others...

Maybe he could be the official coffee fetcher for the director, or the backstage bathroom attendant?
Or he could lead the offsite backstage monitor experiment - where you give him a walkie talkie and pay him to stay at home on his couch all night. You'll call him if you need anything.
Ok, at the very least, put him on props crew...

131

Students and Novice Stage Managers / Re: Trouble ASM

« on: Apr 18, 2007, 09:02 am »

If this ASM obviously doesn't respect you, maybe it would be better for your supervisor to speak with him. Is there a Production Manager, or even Technical Director or Artistic Director who can speak to him? While you should certainly make an effort to work this out with him yourself, if he believes that you do not respect him, he probably will not be able to hear your concerns. So much of the behavior you speak of here is unsafe, and besides being generally obnoxious, it is safety that would certainly be my main concern.

Also, I would try a cooperative strategy to make him feel more satisfied, integrated, and important. Is there any area that he doesn't mess up? Whatever he is good at - whether it's posting the call board or busting out the spike tape - praise him for it and make it clear that he is the manager of that arena. If he wants to be king, give him a little kingdom. Sometimes a little offering like this can give a difficult person the validation they were seeking by acting out.

132

Stage Management: Plays & Musicals / Re: How to Spike Stage for Focus?

« on: Apr 18, 2007, 08:51 am »

Just for clarity, when you're marking the stage for focus and marking focus areas according to the McCandless method, you do mark furniture/scenery placement too. But on top of the basic stage spiking, you mark these nine big areas for the purpose of focus only.

I've never been taught to do this, I just picked it up as I've learned more about lighting and SMing.
"According to the McCandless method" sounds so clinical, doesn't it? 

133

Stage Management: Plays & Musicals / Re: How to Spike Stage for Focus?

« on: Apr 15, 2007, 09:27 am »

When you say you are spiking the stage specifically "for focus", that makes me think it is different that just spiking the stage, in which you would mark the layout of furniture as everyone here is explaining. But I think that whoever asked you to spike "for focus" meant that you should do what Lilz suggested:

When I was at the National Theatre in London they had large, marked sheets with stage areas marked on them that corresponded to areas circled on the lighting plot/floorplan.  The large sheets were actually rolled onto the stage floor and used as focus points on the stage.  I wonder if you're being expected to mark large X's or large letters on the stage floor to be used similarly.  I'd never seen this done before but it was pretty cool.

...where you mark the lighting areas on the deck according to the McCandless method (see http://www.mts.net/~william5/sld/sld-200.htm). Usually, LDs can focus without actually marking the sections on the deck like you're being asked to do. I have only had to do this once, on a show with a rather newbie LD. I've never seen a sheet rolled over the deck as Lilz writes, but rather we marked a big "A", "B"... through "I" to mark the 9 sections. But I've never seen this done with professional LDs. If you ask me, it's more of an academic exercise or a guideline for new LDs. But hey, whatever works.

134

SMNetwork Archives / Re: misc prop questions

« on: Apr 11, 2007, 12:14 am »

Do not use a dulled real knife - too dangerous!

You can dip real blades in a rubber coating (like Plasti Dip) and then spray paint the blade or cover it with foil/mylar. This gives a realistic look, but the actor must be carefully fight choreographed to turn his wrist - and the blade - away when stabbing the other actor. I have done this in dozens of shows without any problems. But you must have professional, reliable, safe actors.

135

Stage Management: Plays & Musicals / Re: Weapons on Stage - Saftey and Legality

« on: Apr 10, 2007, 11:38 pm »

If your Artistic Director also has a concern with the use of the knife, then I think this discussion is between the Director and AD.

It seems there are a laundry list of reasons not to use a real knife and only one reason in favor of the knife (that it's what the director wants).
I would never ever use a real sharp knife onstage. There are a lot of convincing ways to rig the prop knife and scenery for the desired effect. To me the issue here is safety, as always.