Messages

1276

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: What to do when you're sick?

« on: Oct 25, 2010, 02:04 pm »

Yes, I did come in on the day without subs . . . that is the understanding I have my my GM . . . I could have stayed home and run the show with just one SM - we have figured out how to do that, we just want to reserve that for a true emergency . . . I felt myself coming down with the cold on Saturday - the day I came in.  I then arranged for my sub to come in on Sunday, knowing that the cold was coming down the way.  I know myself and what my body needed was 24 hours of sleep and a lot a nyquil.

1277

College and Graduate Studies / Re: MA Stage Management vs. MFA Stage Management

« on: Oct 25, 2010, 02:02 pm »

Most graduate programs are MFA, and I am not sure what the difference would be for a MA in stage management versus the MFA in stage management OTHER then the academic hierarchy of MFA versus MA.  I would compare the program detail by detail.

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College and Graduate Studies / Re: MA Stage Management vs. MFA Stage Management

« on: Oct 25, 2010, 08:09 am »

Who offers a MA in Stage Management?

1279

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: What to do when you're sick?

« on: Oct 25, 2010, 08:08 am »

Funny how these topics can be VERY topical.

I have been sick for two days . . . on Saturday, we just did not have a sub (one out of the country, one unavailable), so I mustered through the Saturday.  Sunday we had a sub available, so I took the sick day, slept for 24 hours, and now back in at work Monday.

You know, sometimes you need the time to make yourself better.

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The Green Room / Re: New Feature

« on: Oct 22, 2010, 11:21 am »

Ruth - thanks for pointing out.

Made my donation today.

- Matthew

1281

The Green Room / Re: On anti-success

« on: Oct 21, 2010, 02:16 am »

In some ways this article is really eye opening to me - and part of it is that this article just came across my desk at the right time in my life.  So many of us come up with our definition own definition of success in this business . . . we talk about 5-year goals, 10-year goals, eventual career goals.  And, I think those are truly, truly important things in this BUSINESS, and truly important to RUNNING the business that is ourselves as stage managers - remember, we are businesses of one.


But, what is so dangerous about this career path - is that since we are a business of one, we can easily confuse our personal life with our professional life.  I know I have, and I find it hard to figure out where Matthew Shiner, the person, and M. William Shiner, that stage manager, begins and ends. 


Personal success and happiness do not, and really, should not be tied up with our professional success - although lets be honest, they do play off each other to a certain extent.  The goal, as I see it from where I am sitting now, is to try to figure out how to be very happy personally regardless of my professional success. 


So, that’s step one . . . the separation of these two things.  How you become personally happy depends on way to many things - I know as I grow older, the definition of happiness changes.  I am thrilled by a simple quiet life with my partner, my two dogs, and a really cool video gaming system and my kindle.  I am proud of my son and his accomplishments.  I strive to be a good son, a good brother, and a cool uncle.  Seriously, a simple happy life.


Now, to deal with professional gauges of success, I firmly believe you need to figure
how this job “turns you on” - be honest with yourself.  And that is not easy. 


I have been doing this for over 20 years, and I don’t have a complete handle on it.  I know there a lot of things about this job that I enjoy - and I have worked in enough different environments so I can compare and contrast the plus and minuses.  I also know that it changes and evolves.  (Trust me, some of the things that initially drew me into this career - now drive me up the freaking wall, but I have been able to figure out new things that keep me in this field.) 


Do you do it because the job makes you feel important? 


Do you do it because you like you like the power?



Do you do it because you like to feel like providing support for the artistic process?


Do you do it because you like calling cues?


Do you do it because you like working behind the scenes?


Do you do it because you like to feel included?


Do you do it because you love paperwork?


Do you do it because you like to figure things out?


Do you do it because you like to be a leader?


Do you do it because you like working long hours in the dark?


Do you do it to be close to actors?


Do you do it because you are good at it?


Do you do it because you like the challenges?


Do you do it because you were pushed into it?


Do you do it to work on high profile projects?


Do you do it to work with stars?


Do you do it because you are a frustrated actor, and you want to stay in the business?


Do you do it because you are a frustrated director, and you are waiting for your chance?


Do you do it for the money and stability?


Do you do it to create art?


Do you do it create entertainment?


Do you do it because it affords you the personal life you want?


Do you do it because it’s a different job, and it’s like running away to join the circus?


Do you even know why you do it?




I think once you figure out WHY you do it, you can easily figure out what is YOUR professional success - and sometimes you will see that what you thought was your success marker (getting you AEA card, international touring, working on Broadway) don’t align with the reasons you do the job in the first place.  If you dream job that will make you feel like you are a success does not fulfill the reasons you DO the job and the reason you ENJOY the job - then why is that your goal?


 I think ultimately need to make sure everything is in sync.  I think as soon as you can realize what your personal career success is and realize that it will always differ form other stage managers, you can let go of some the extreme sense of competition that can grow between stage managers - and I think if you can let that go . . . you are further down the path then I think I am sometimes.

1282

The Hardline / Re: Prompt Script Etiquette

« on: Oct 20, 2010, 11:59 pm »

Rights going from Regional to Broadway/Off-Broadway/Commerical are always a bit odd . . . but unless it's the same producer or the producer is lined up while the LORT production is still running . . . pretty much the concept of subsidiary rights get shuttled off the table.  I believe typical rule is six months . . . and then after that, all bets are off.   (Unless you have negotiated something into your first contract.)

We are not quite like designers where we get right of first refusal.  If a show is transfer among LORT theaters, then there are specific rules that protect us.

1283

The Green Room / On anti-success

« on: Oct 19, 2010, 08:07 pm »

from my blog  http://thepromptbook.com/?p=113

something from zenhabits.net about anti-success.

very interesting read.

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Stage Management: Plays & Musicals / Re: Sweeney Todd's bloody razor.. Ideas on How??

« on: Oct 19, 2010, 07:54 pm »

When I have done it the show, we have done the version of the bulb on the handle, with a tube running on the side of the razor - so as the actor push the bulb, and pull the razor across the neck, left a line of blood.

with a back up plan, with a small squeeze bottle in the victim's hand.

1285

The Green Room / Re: Lip-syncing at Cosi open

« on: Oct 19, 2010, 04:48 pm »

I am not sure all the fact on the situation are presented in the article, often the facts of these events are slipped out by various people.

But given the high demands of opera, I am not surprised these events happen.

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Stage Management: Plays & Musicals / Re: PROFESSIONALISM: What to do when you're sick?

« on: Oct 18, 2010, 11:45 pm »

loebtmc:

That is a very valid point, and I would NEVER want to undermine the importance of hiring enough Stage Management.

But realistically, in a profession setting - if you can't cover the show internally - like with the ASM calling and a PA running the deck in emergency, you should discuss with the producers and the general manager (or production manager) and say, "So, what are we going to do if we loose a Stage Manager?"  They need to be the ones to make a decision if they want to spend the money for a sub to be trained or help you figure out how to do it with the staff.  (Most of the time in Regional Theatre, I would train my ASM in case an emergency came up . . . ).   I could very easily seeing a production manager or producer expecting us to "figure out" what we can and can't do with the staff we have, and present to them issues where we can't solve.

For example, taking it out of the context of the SM issue.

I once did a show where only ONE of the crew members was physically strong enough to move an item we had backstage.  Simply put, if that crew member could not move the item, we had no way to run the the backstage.  (It was a very stupid set piece).  During tech this was brought to SM's attention, and we, like good middle management, brought it to the production manager's attention that if so-and-so was out, we couldn't use that set piece.  Of course, two weeks down the road that crew member had to miss a show, but by the time I heard that so-and-so was going to be out - production management had already replaced the crew member, because I had made it clear we couldn't do it without them or someone who physically could move that item.

In a professional setting, I think we just need to be clear with the powers that be what the situation is.  Currently, on my show, we have two subs who are trained on the ASM track, and two people who can call the show.  Now, the subs just don’t sit around waiting for me to call them . . . and we hit some points where we know the subs are busy . . . I explain to general management and say, hey, btw, we may hit a point we don’t have enough SM coverage . . . and they are the one who makes the decision if we bring in someone else to train, or take the risk of us flying without a safety net.

Now, in the case of stage management in a community theatre situation - where we aren't talking about producers and money and general management being stingy with money – yes, stage management should figure out who could cover in case of an emergency. 

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Stage Management: Plays & Musicals / Re: PROFESSIONALISM: What to do when you're sick?

« on: Oct 18, 2010, 06:51 pm »

I guess I'm of the school of thought that unless you are bleeding, have a broken limb, etc. you do the show.  I've called shows throwing up in a trash can, running excruciatingly high fevers, etc.  If there's no one that can run the show (because sometimes even with a great book no one else can do it) than you just have to make it happen.

DEAR GOD!  It's just a job.  A job for god sake's.

Let's rewind here . . . if you haven't made it so you are replaceable, then you are not doing you job.  Just as you have to figure out how to do the show with understudies or swings, how do the job when you are short a crew (or four) - you need to put a plan in place that will allow someone else to do the show in case you can't.  That's just part of the job.

If it means training a crew member, an asm , the production manager - whomever - you need to be replaceable.  I know it's a terribly odd feeling, since we all agree that stage managers are so important, but we are replaceable - and for the good of our shows - need to be. 

This means your calling script needs to be pristine, a copy should be made available for a sub, and they should - at the very least, get a couple of minutes where you talk through the show.  I would much rather be remember as the SM who had a plan in place so they could be sick rather then the the SM who called the show vomiting in a trash can. 

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The Green Room / All-day conference produced by the SMA

« on: Oct 18, 2010, 01:57 pm »

I know some members of the SMNetwork are members of the SMA, but for those who are not, I wanted to pass on the information.  You do not need to be a member of the SMA to attend.

----

It has been more than 25 years since a few Stage Managers gathered to share stories, frustrations, solutions and camaraderie in a bar in New York City.  Now we have come full circle, gathering above a bar for an industry-wide all-day conference produced by the SMA!

THEATER – A VIEW FROM THE WINGS:  Conversations with Directors, General Managers and Stage Managers will take place on Monday, November 8th beginning at 10 AM at Connolly’s Klub 45, at 121 West 45th Street, NYC, on the 3rd floor.
We hope that it will serve as a catalyst for exploring the changes in producing theater today and how these changes affect the artistic process and the daily life of shows.
We also hope that you will get the word out.  In addition to the now-standard emails, tweets and Facebook listings, we’d like you to talk it up! If you are working on a show, please engage your Company Managers and General Managers and Directors in a discussion about why this kind of conference is important to all of us.  Convince those who think this is merely a teaching tool to realize that, in these fast changing times, we must all find new ways of understanding our roles and adapt the ways we work together for the good of the industry.
We are counting on you!  Please help make our first conference a success.
Thanks,
Zoya Kachadurian, Event Producer
Here is more about the conference:

THEATER - A VIEW FROM THE WINGS will have three panels. One will explore the Relationship of the General Manager and the Stage Manager, from the perspective of each:  how stage managers can simultaneously protect the business needs and the artistic interests of the show, and what significant changes have occurred in the industry in the past decade.  Panelists will include Charlotte Wilcox, Ben Sprecher and Peter Bogyo.

Another panel will explore the unique Relationship of The Stage Manager and the Director, including artistic maintenance (with and without Associate Directors) and how SMs represent the Director's interests after the show has opened.  Currently on the panel are Sheryl Kaller (Broadway’s Next Fall and Off Broadway’s Adrift in Macao, and the upcoming Dangerous Beauty at the Pasadena Playhouse) and Timothy Douglas (former associate artistic director of Actors’ Theater of Louisville, director of the world premier of Radio Golf for Yale Repertory and countless other shows across the country)

Our final panel will be The SM and the New Media Technology, the benefits and challenges to production, and will feature innovators in this emerging industry.  It will be moderated by David Grindle, Executive Director of USITT.

There will be a networking lunch, and the day ends with a cocktail reception featuring the presentation of Del Hughes Award for Lifetime Achievement in Stage Management to Susie Cordon, Alan Hall and Porter Van Zandt.

To register, go to http://stagemanagers.eventbrite.com.  The deadline for registering if you plan to include lunch is October 30, 2010.

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The Hardline / Re: Prompt Script Etiquette

« on: Oct 17, 2010, 07:25 pm »

Yes, if the producer was asking for you to prepare the script, you should be paid.

On the flip side, your paperwork should always be in such a way that someone else should be able to pick up and take over the show . . . in case you are hit by the proverbial bus. 

But, here's the thing - paid for it or not, they are going to be picking up your script and show paperwork, and it has your name on it.  How are you going to want to be viewed?

I always want a show's calling script and paperwork to be pristine; that's how I prefer things. So, that if anyone was to open the script in the future, they would be able to put the show up.

1290

The Hardline / Re: Equity and Checks

« on: Oct 13, 2010, 04:03 pm »

I have always gotten a hard copy - so unless this a VERY recent change. 

Regardless, you can discuss with your business rep if the printed copy is indeed the printed out version is the most current version of the contract.