Messages

1201

The Hardline / Re: Equity Crossroads

« on: Feb 01, 2011, 10:08 am »

In general, even if you are non AEA, you can still apply for AEA work . . . I don't always think it's a good idea to apply to FAR above where you are at the ladder, but if you are the right person for the job, and the job is AEA and you are NOT AEA, all they have to do is offer you the contract . . .

1202

The Hardline / Re: Equity Crossroads

« on: Jan 31, 2011, 04:54 pm »

yes, AEA is pretty understanding about honoring signed contracts for non-AEA work even if happens after you have turned AEA - within reason.

And no, not at all inappropriate to apply for AEA work.

1203

The Green Room / Supply Versus Demand

« on: Jan 28, 2011, 05:05 pm »

It's interesting, I have been doing some lurking and interviewing and discussing with members of the board, for a little - essay, let's say, I am working on about the state of education and the status of supply and demand for young stage managers.  But, it does come down to supply and demand - a basic economic principal.

Interesting little tidbit from the head of the NEA in the times . . . and I think he is dead on about it . . .

That’s a discussion nobody wants to have.” Foundations and agencies like the endowment should perhaps reconsider re-allocating their resources, he said, perhaps giving larger grants to fewer institutions. “There might be too many resident theaters — it is possible,” he said. “At least we have to talk about it.”

Read the entire article at

http://artsbeat.blogs.nytimes.com/2011/01/28/landesman-comments-on-theater/?ref=theater
 

1204

Stage Management: Plays & Musicals / Re: REHEARSAL: Sign-in Sheet for Rehearsals

« on: Jan 27, 2011, 05:04 pm »

I just don't get the sign in sheet on the table next to you.  I mean, so you are in the middle of a scene, with the director right next to you, and an actor comes up to you and signs in . . .  I am just trying to picture when this is a good idea.

My whole goal of the sign in sheet is to get them

1) In the habit of signing in.
2) In the habit of checking the call upon signing in to see if there are any changes.
3) In the habit of checking the call board for changes.

I would argue that putting the sign in sheet closer to you is reinforcing a physical need of them needing to be coming to you all the time, which may not always be the best habit for them to get into.  Especially when I am sitting with a director working on a difficult show, to have an actor, bring in different/new/odd energy to sign in and ask questions - just may not always be a good thing - may not be a bad thing, but may not be a good thing.

1205

Tools of the Trade / Re: Making prop red wine

« on: Jan 26, 2011, 11:50 pm »

Almost anything with red dye is going to stain.  Why not go with "white" wine.

Because white wine rarely goes with a good lamb dish.

Just silly.

If a director wants red wine  . . . and besides, the symbolism of red wine is just so much richer then white wine.

REMEMBER, once something is put on stage it ceases to be just something, it gains importance, and weight . . . now it's frame and 500 people are looking it . . . and can't just be any old glass of wine . . .

1206

Employment / Re: Finding jobs in NYC

« on: Jan 24, 2011, 09:21 am »

Reports are done daily like in the UK.

And yes, when you start working in Union houses, yes, you shouldn't being doing their job, but to be honest, you might be working in a theater where you are not bound by IATSE stage hand rules, and your jumping in and sweeping the floor, although technically not your job, speaks volumes about your who you are.  Yeah, I would always ask before I would do it, but it sort of depends on the level you are on. 

1207

Employment / Self-Promoting with being a jerk

« on: Jan 21, 2011, 09:19 am »

Found this linked from life hacker . . . .

link for article http://jezebel.com/5738957/social-minefield-how-to-self+promote-without-being-a-jerk



No matter what field you work in or aspire to, you've probably been told you need to self-promote to get ahead. But how do you do that without coming off like a jerk? Never fear — we have tips.

"Self-promotion" is kind of an ugly word, but it's also a necessity. If you're an artist, writer, or filmmaker, you have to get the word out about your work. If you freelance in any capacity, you need to pound the pavement for jobs. Even if you have a relatively steady job, you still need to make sure your accomplishments aren't being overlooked. So how can you do that without being That Person Who Sends All The Annoying Emails? Here's how...

Read more: http://jezebel.com/5738957/social-minefield-how-to-self+promote-without-being-a-jerk#ixzz1BgBg9dyF

EDIT: Trimmed to a suitable excerpt to avoid copyright/plagiarism issues. - PSMK

1208

Stage Management: Plays & Musicals / Re: REHEARSAL: Sign-in Sheet for Rehearsals

« on: Jan 20, 2011, 10:20 pm »

Igive me their phones and other electronic distractions

that seems to be a little totalitarian to me . . .

1209

Stage Management: Plays & Musicals / Re: REHEARSAL: Sign-in Sheet for Rehearsals

« on: Jan 19, 2011, 11:43 pm »

I guess the issue comes down to your rehearsal space / holding area.

If you have a rehearsal room / green room situation, I think the sign in situation would be more of the ideal.  (In most situations like this, I don't want people coming into the rehearsal room until I call them, but I want to be able to send out an assistant to quickly check if everyone for the next scene has arrived.)

If you have a only one room, then checking in people as they come in would more sense.

You always should customize for you specific situation - one the best things about stage management is you always have to tweak given your given circumstances.

1210

Stage Management: Plays & Musicals / Re: REHEARSAL: Sign-in Sheet for Rehearsals

« on: Jan 19, 2011, 05:57 pm »

Quote from: Rebbe on Today at 08:03:17 AM

    The one time I had an actor ask me about this, it was on a four person show and he had just come from a season with our own Matthew Shiner as PSM, so apparently his good call board habit really did stick  .


Obviously my actor must have worked with Mr. Shiner, as he was adamant that the sign in sheet was a necessary component to rehearsal. I'll have to make one, or else he'll start signing the door out of habit!

Crap - leaving my mark on American Theater.

1211

Stage Management: Plays & Musicals / Re: Sign-in Sheet for Rehearsals

« on: Jan 19, 2011, 02:08 pm »

I do all the time for a multitude of a reasons (and usually the sign in sheet is built in to the daily call)

1) it makes it easier on cast of a certain size to make sure they that everyone is there for the first call.  With 30 people in the cast, sometimes it's just easier to look at the call board to see if they have signed in and then look for the them.
2) I do talk to the cast during our first meeting and say that when they arrive they should check the schedule to make sure it has changed since they night before or if there are any other announcements - when they sign in - that's their acknowledgment they have read the call board.
3) It also trains the cast to sign in upon arrival.  Good call board habits need to be rehearsed as well as everything else.

1212

College and Graduate Studies / Re: Major in theatre or not. . .

« on: Jan 18, 2011, 04:45 pm »

Lauren, looking into your school, I think you the experience and the education you are going to get in the school you are in is amazing.

You don't need a degree in Stage Management to Stage Manage.

Don't let anyone tell you otherwise.

What you need is experience.  And experience is what will translate.

1213

The Hardline / Re: Equity? In this economy?

« on: Jan 17, 2011, 02:02 pm »

+1

To beat my dead horse, I blame the market flooding on the relatively recent academic programs in stage management.

This is a VERY serious issue, and something that has not really been discussed in detail - but I have done some thought about it.

Not only the flood of the market by educational programs, but the flooding of the market by education programs of substandard stage managers.  Just because you have a BA or BFA in stage manage does not make you a good stage manager or give you a right to stage manage.  Some of the WORST stage managers I have worked with have BFA degrees in Stage Managements.

Substandard stage managers and stage managers taking jobs for slave wages or no wages devaluing the position is setting us back years.

Again, it's not always about the formalized education, it is about the experience, the personality and the final package of the person.

1214

The Hardline / Re: Equity? In this economy?

« on: Jan 16, 2011, 12:48 am »

But does it make sense at all, with the marketplace 'flooded' with AEA SMs and fewer union positions available, to consider going for it?

Nope, don’t consider going for it - it’s not worth it.  Trust me it’s not worth it.  The head ache of being a free lance AEA Stage Manager is not worth - the competition is just too fierce for the jobs, and you are right the jobs are just too few and far between.  And when you get, in reality the pay is too low.  It's a terrible lifestyle - and to be honest - you will never be happier then you are being a non-AEA stage manager.  Most AEA Stage Managers are miserable.  They don't have fun at all.

Seriously, I don’t want someone else competing with me for jobs - so I should be doing everything in my power to discourage you from entering the job market - I don’t want any more competition - but most of here know that all the market is flooded with AEA SM’s, BUT here’s the secret - the market is NOT flood with good AEA SM’s - I happen to know both Maribeth and hbelden who are in on this conversation, and they both know of other AEA SM’s who work in this business who perhaps should not be working in this business, but still get work.  It’s just a fact of life.  In reality, I want to encourage more GOOD stage managers to enter the work force so I only ever have to work with good stage managers.  But the reality is bad stage managers are every where, and they work all the time.  (Because they have experience, connections, etc, etc).

Again, dallas 10086, this is very, very complicated, I could point out to you, since I turned AEA 11 years ago, I have only ever been unemployed (that is not on vacation) for about 12 weeks.  That’s 12 weeks in 11 years of working in this very flooded employment market.  On the flip side, I didn’t get my AEA card until I was 30, after I got my MFA, after I worked at the LA Jolla Playhouse as an Intern and a PA, and working 25 years in the business (And now that you all know I was a child actor, I need to kill you all . . . ). 

There is no straight path in this business.  That is what is so fun and what is so damn frustrating about this business.

(Some day let me tell you the story of how I lost my first Broadway show to the producer’s girlfriend so she could keep their American Citizenship . . . true story.  But that’s this crazy business.)

But, back to your big decision, and I don’t want to make light of it . . . since you seem to be doing a lot of thinking about it.  You have to weigh your own experience, education, and marketability, along with your business goals and aspirations.  Remember, you need to run yourself like a business.    Do you want to stay where you are currently located?  Can you find enough work where you are currently located?  (To be honest, I have no idea what the AEA theatre scene is like where you are at.)  Are you willing to relocate?  Are you willing to tour? 

Is this going to be your full time job?  Is this going to be your career?  Raise a family? Is this what your are going to pay your bills with, buy a house with, save for retirement with?  You might find the easiest may to nice middle class lifestyle by stage management is by being an AEA Stage Manager.

Remember, you can be a stage manager and do it for the love of it and do it as a hobby, or do as part time job, and still be a huge successful stage manager.

The different between a full-time stage manager and a part-time stage manager, is a full-time stage manager was stupid enough to get involved this full time.

 

1215

The Green Room / Re: This one goes to Eleven!

« on: Jan 15, 2011, 02:06 pm »

January of 2000.

I just started my last quarter in graduate school at UC San Diego.  My grandfather had just passed away - I remember missing my first first-rehearsal ever.  Was getting reading for life as a real world stage manager and trying to figure out where in the freaking world I was going to end up.

Funny, 11 years later, I still am.