Messages

1291

The Hardline / Re: Equity and Checks

« on: Oct 13, 2010, 02:47 pm »

I think it varies which contracts are current.

The best thing to do is when you get your packet, compare to it to the online version.  But, a bunch of contracts I have recently worked on have some extensive "not finalize language" changes that were not on the online versions.

1292

The Hardline / Re: Equity and Checks

« on: Oct 07, 2010, 11:51 pm »

And one of the reasons is really to protect stage managers . . . let's say general management drops checks off to you, and one is lost . . . you don't want to be responsible for an actor not being paid.

1293

Stage Management: Plays & Musicals / Re: They don't cover this in school

« on: Oct 05, 2010, 01:09 pm »

This has nothing to do with stage management . . .

this is about just being a good friend or co-worker.

1294

College and Graduate Studies / Re: URTAS

« on: Sep 28, 2010, 10:15 pm »

We have had several threads about this . . . you can search and read more about how other threads have gone. 

1295

The Hardline / Re: Several LORT contract questions

« on: Sep 28, 2010, 09:38 pm »

1. Where did the "A" category come from and go to?  Why can't a theatre move into or out of that category?  (My guess has been that the "A" theatres at some point needed to be limited in number, since they are Tony-eligible)

Not every LORT A theater became Tony Eligible.  You would have to talk to people who were in the negotiations to  learn every reason.  I was always told that it was sort that no matter how much lager the lower tier theaters got, they would have to pay at the level.  Some of the LORT A theatres have gone on to negotiate their own contract.

2. In rule #11 "Broadway District", I'm assuming that the thing that will be governed by Production Contract is the show that is originated in or moved to a house in the Broadway district, not that the entire LORT theatre producing that show must switch over to the production contract (thereby leaving the LORT contract).  Right?

Contracts are always per show -  the theatre is just the producer  - so, yes, it's just the show.

3. A question that I once called the business rep about but didn't really wait for a very thorough answer:  If I'm being paid over scale, I've been told that I can't bill overtime until my OT for the week exceeds the difference between contract minimum and my over scale rate (i.e. if I'm being paid $1200 a week and minimum is $1000 a week, I'd have to go into more than $200 (or more than 7 hours) worth of OT before I'm actually paid extra for it).  The business rep told me that that is true.  In the AGMA contract I've been working recently this is basically spelled out (though restricts what extra payments fit into this rule) but I haven't read it in the LORT contract anywhere.  Is this some sort of standardized thing in AEA or all entertainment or all employment in the US?  At the time that I asked the biz rep about this, I was working on the RMTA contract.

Unless you had the specifically rider'ed in your contract, that is not how I have worked my entire career.  No matter what I am paid - I am paid overtime for any overtime I work.  But again, some theaters I have worked with have a rider that specifically says that - I have never agreed to it.  Looking over the contract I could not find anything that would outline as such.  I would argue that if you work over time you are due overtime.

4. Finally, not a rule question, but when did SMs become part of AEA?  Have they been since the beginning?  It sure is hard to find information on the history of the job of stage manager!

Good question . . . I don't know . . . I have a feeling it was 60's/70's at the latest.  Love to see the answers.

1296

Stage Management: Plays & Musicals / Re: CALLING: Light Board restart WWYD?

« on: Sep 28, 2010, 02:41 pm »

I don’t think anyone can really answer the question given the details listed here.

I would make the decision in the heat of the moment, but I don’t the show.  I would play out to the end of the scene, and then pause.  Yes the show must go on, but hopefully the entire production as designed and put into.

Would be more jarring?  Stopping the show, rewinding to the beginning of the number and starting over?  Or pushing forward with the audience PAINFULLY aware that something was wrong? 

Would you push forward with an actor not in costume?  With no sound cues?  With out a set piece???

It all depends on the show.

And, do we know the board is going to coming back up?

I had a situation painfully like this where a lighting effect (no the entire cue) didn't fire and I pressed on - Director came up to the booth to "chew me out" - I should have stopped the show.  How we look at a show, as stage managers, with the the show must go one mentality is not always the choice the creative team would make.

I like to play Devil’s Advocate – because I think the right answer isn’t always the easier answer or the first answer.

1297

Stage Management: Plays & Musicals / Re: SCENERY: Video

« on: Sep 25, 2010, 01:51 am »

Projections that are done well are amazing . . . the ones on Broadway in Fela right now do an amazing job in helping tell the story, and also create atmosphere.  But, there are a whole bunch of projectors - I could go back and just watch the picture of the mother.

Some of the projections Cirque use are amazing.

I think it's a new emergent technology - and to really pull it off well, needs a good designer, very pricey equipment and a director and creative team who are willing to give it the time, attention and money it needs.

1298

The Green Room / Re: What did you learn today?

« on: Sep 20, 2010, 06:56 pm »

Something I learned: just because a show isn't "complicated" doesn't mean it isn't physically exhausting during 10 out of 12's.

Something I learned a long time ago - all shows are equal pain.  If a show is not complicated tech wise, actors will act up - if tech and actors are all playing nicely, there will be a designer who goes bananas.   Tech is like a void with expected pain, and someone, somewhere will fill the void.

1299

Students and Novice Stage Managers / Re: Portfolio?

« on: Sep 11, 2010, 12:22 am »

Given a "Stage Management" portfolio is NOT a industry standard term, no is it really used, just make sure it fulfills the academic need.

After your first couple of jobs, no one asks to see anything other then a resume normally, and if they do ask for more, it's most likely because they don't know what a stage manager does.

1300

Employment / Re: Resumes and Cover Letters......The Nitty Gritty Part of Stage Managing

« on: Sep 07, 2010, 11:48 pm »

I agree with most of the posts, but have a couple of notes . . .

If you are not applying by e-mail, and you can do so, deliver your package in person. It lets them see your face, it sends a message about your enthusiasm and interest, and you can be absolutely sure that your package makes it onto the right person's desk, while more paperwork is lost in the mail or garbled on the internet than you'd care to know about.

You know - - - I disagree with this, if they ask you to submit by mail, please do so by mail (this is part of following the instructions thing) - I think showing up in person could be read as a little "stalkerish" and desperate.  On the flip side, if you are just dropping off a cold resume to a theatre, and not answer an add which specifically said via us mail, then I could see dropping it off in person.

You should customize you cover letter and address point by point the requirements the list in the ad, especially dates.  Often time if I had several open positions, having the dates of availability helped me staff - even if it was for a different position then the one someone applied to. 

If you can figure out ANY personal connection to the person you are apply to ("I recently worked with Mr. Blah-blah who designed for you and said I should apply . . . "), use it.  It's key.  In this industry that personal connection will put you heads and and shoulders above a cold resume being just sent in.

1301

The Green Room / BEST ADVICE YOU CAN GIVE

« on: Sep 07, 2010, 02:37 am »

I have meeting a lot of stage managers in my new New York experience, some with more experience, some with less experience.

What is the best advice can you give out . . .

I am a huge fan of "There is no one right way to stage manage, but there are a hell of a lot of wrong ways".

Your favorite one line piece of advice . . . post them here.

1302

Stage Management: Plays & Musicals / Re: SHOWS: How many times have you Stage Managed the same play/musical?

« on: Sep 06, 2010, 06:54 pm »

Christmas Carol - four times (3 times same adaptation, 1 different one)
Into the Woods - three times (1 ASM, 1 SM, 1 as Production Supervisor)
Hamlet - Twice (Not a short one)

1303

Stage Management: Plays & Musicals / Re: TECHNOLOGY: Facebook photos and videos

« on: Sep 04, 2010, 06:57 pm »

Please check with general management for your theatre . . . as AEA is all over the place with these rules. 

But in general, unless the theatre is taping it, and thus responsible for clearing all rights and making sure rules are being followed, don't allow it.  Simply say that this needs to be cleared by General Management, and push it up to them - and until you get clearance from above, simply state you can't allow it.

1304

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Your Show Sucked.

« on: Sep 04, 2010, 01:12 am »

There is no easy way around this situation.

I am a big fan of "Good Work" - it sort of makes it about the effort, and the final product.

Also, I do try very hard to find SOMETHING positive about the production.

1305

The Green Room / Re: COLLEGE GENERAL DISCUSSION: Is the traditional four year college worth it now?

« on: Sep 02, 2010, 01:34 pm »

http://consumerist.com/2010/09/when-will-the-college-tuition-bubble-burst.html


Link to consumerist article about cost of higher education.

"This is a chart from the Carpe Diem blog showing the increase in college education costs, U.S home prices, and the consumer price index. If we had a housing bubble, the skyrocketing costs of higher education is a super bubble.

How did we get here? There's no way the value of that education has kept track with its price.

Well, private lenders are part of the story.

Private lenders cropped up marketing easy credit to students, while at the same time giving kickbacks to schools that shuttle students to these private lenders. The more these schools raised rates, the more students turned to the private lenders, and the profits for the school and the lender kept rising.

Obviously this isn't the case at all universities, but it is at enough. Remember the big settlements Andrew Cuomo got from NYU and U Penn over accepting kickbacks from Citibank? You know that if those guys were caught, there were many more out there doing the same."