Messages

1306

Stage Management: Plays & Musicals / Re: DEAR ABBY: Save me from my micromanaging PM!

« on: Sep 01, 2010, 06:57 pm »

Let me play devil's advocate, and none of us are assuming the that indeed the style in which the stage manager is communicating is NOT up to the par or the way or style the production manager would have a SM communicate.  How funny we are all assuming this is the fault of a crazy Production Manager and not a sub-standard Stage Manager.  There are lot of us on this board, we can't all be perfect stage managers.

Trust me, there are stage managers who do come across very poorly with their communication styles - and if the person who hired you is not happy with the style you are communicating, then take it as an opportunity to either improve yourself - or a great lesson to suffer the requests of fools gladly.  If you want to work with this person, then you are just going to have to deal with their requirements.  Don't like it, leave.

Why not just cc here on all correspondence?  Is this some sort of power struggle between you and the PM?  Why not just humor your boss.  Ultimately, no matter what level you get at level, Stage Management is ALWAYS middle management and we are beholden to the people below us and held accountable by the people above us.  If a producer, general manager, or whom ever wants us to jump through certain hoops as part of working with them - then sadly that is what we would have to do.

Now, the flip side, like everyone said, is to somehow confront your production manager about this request, which it seems like you already have done - and if she is going to make your life miserable if you upset her, then just don't upset her - so, cc her on the e-mails.  As crummy as it may seem, it seems cut and dry.

1307

The Green Room / Re: Why is it that...

« on: Sep 01, 2010, 01:42 pm »

(Picturing how evil playwrights sit down writing a play going . . . hmmmm, how can I make the stage manager's life miserable?)

Another good one . . . three act plays where Act 1 - realistic interior.  Act 2 - different realistic interior.  Act 3 - realistic interior, the same as Act 1.  (Playwright's evil laugh)

1308

Students and Novice Stage Managers / Re: Co-SMing

« on: Aug 31, 2010, 02:06 pm »

Co-Anythings always requires very specific ground rules, and needs to be explain to everyone you work with.  It’s very difficult.  Do designers need to have every conversation with both of you?  Do you both need to be present at every conversation?

Screw it.  This situations rarely come out great.  There needs to be someone with whom the buck stops.

You say it would be weird having one of you ASM would be weird since you are both the same level.  I argue that would make it better for you to ASM.  I have assisted Stage Managers who were not as experience as I was - it just ended up that they were the SM, and they hired me because I had more experience.  The jobs are drastically different - why not just by the ASM? 

Hell, after 11 years of being PSM, I would love the change to be someone’s assistant - and not be the one in the hot seat.

1309

Students and Novice Stage Managers / Re: Job Titles: USA Vs UK

« on: Aug 31, 2010, 12:55 pm »

I would be interested to hear a description of the UK SM's and I could try to connect them to the US counterparts.

I did a show the RSC . . . and was very confused by who did what normally - as we were all American, we did it the US system.

1310

Stage Management: Plays & Musicals / Re: Talk Backs

« on: Aug 28, 2010, 07:32 pm »

At intermission would be odd.

I have had talks before the show, but they were usually WAY before the show, like at 6:00p.

1311

Stage Management: Plays & Musicals / Re: REHEARSAL: Duties during acting exercises, movement, vocal work, etc.

« on: Aug 28, 2010, 02:59 pm »

Well, someone should be in the room.

I usually catch up on paperwork, and still keep an eye on the rehearsal.  Sometimes some actors need someone in the room to keep things focused . . .

1312

Stage Management: Plays & Musicals / Re: CALLING: Watching 100% of the show.

« on: Aug 27, 2010, 01:39 pm »

Yeah, having times for scenes in a long run is great to note . . . but I find that you sort of have to something better to say then "it's too long" - you need to find a better note to give actor then "this scene is now 90 seconds long" as a motivation - then they may just talk faster.

1313

Stage Management: Plays & Musicals / Re: CALLING: Watching 100% of the show.

« on: Aug 27, 2010, 12:29 am »

I always find watching the whole show night after night difficult.  AS LONG AS YOU CAN DO THIS WITHOUT AFFECTING THE CALLING OF THE SHOW - and you should always watch the whole show, but you can focus you eye for giving notes by breaking down the show in different ways . . .

Ways to spice it up . . .

1) Focus on one character
2) Focus on the odd scenes, the even scenes
3) Focus on one actor (if they play multiple characters)
4) Watch the show focus on one element of design (lights, scenic, costumes, props, sounds)
5) Watch the crew focus on the run crew (or what they do on how it effects the onstage picture)
6) Watch the visual picture of the show (as if you turned down the volume)
7) Listen to the show (Watch as little as possible, but pay attention to what you are hearing)
Watch the show paying attention to tempo
9) Before a show, review notes the director gave during rehearsal, tech, previews - see how many of these notes can be regiven.
10) Be on book - see how close they are to the script during a long run.

Hope that helps.

1314

Stage Management: Plays & Musicals / Re: HOUSE MANAGEMENT: Do you spill the beans about your famous audience members?

« on: Aug 24, 2010, 07:09 am »

House size is one of those odd things . . . If I know a house is oddly small, I sometimes feel okay giving a cast a heads up (especially if the first few rows are empty). 

If there is a school group, I usually let the cast know that as well.

1315

Tools of the Trade / Re: Fake Braces

« on: Aug 22, 2010, 01:50 pm »

a paperclip through the cheek hurts... A lot.

Yes, yes it does.

1316

Students and Novice Stage Managers / Re: First time with Equity

« on: Aug 22, 2010, 01:49 am »

I remember doing it with a one-person show.  I would knock on his dressing room door, check in with him, and he would sign the sign in sheet on my clip board.

1317

Stage Management: Plays & Musicals / Re: TECHNOLOGY: Anyone else using Google Sites?

« on: Aug 22, 2010, 01:47 am »

Again, why is any of this better then just sending out an e-mailed version directly to a contact list?

1318

Tools of the Trade / Re: Fake Braces

« on: Aug 21, 2010, 06:27 pm »

This is probably left to a pro crafting - as you are dealing with body to the teeth, being inside someone's mouth - and could lead to all sorts of problems.

1319

Employment / Re: When is it OK to work for free?

« on: Aug 21, 2010, 06:25 pm »

“As far as stipends in general being illegal, I wish that that were the case.  But most stage managers not under an AEA contract are independent contractors, and therefore not included under Wage Protections like Minimum Wage.  If they're not employees, they have no protections of any kind, including benefits and a guaranteed minimum wage.  And sadly, that's not at all illegal.”

Stipends are illegal.  The fact they still exist is that most theatres who are doing this have VERY little to sue for.  Also, stage managers who work at this level usually do not have the knowledge of the law, grateful to have this level job or doesn’t want to rock the boat.

The following is sort of layman’s definition of independent contractor – and a stage manager gets caught up in the legal definition . . . and I don’t think, given this definition, could ever been considered a independent contractor.

“One of the most important considerations is the degree of control exercised by the company over the work of the workers. An employer has the right to control an employee. Thus, it is important to determine whether the company had the right to direct and control the workers not only as to the results desired, but also as to the details, manner and means by which the results were accomplished. You should ask yourself, for example, whether the company had the right to control the number and the frequency of breaks, how the workers performed their work, the type of equipment they could use, and their work schedule. If you find that the company had the right to supervise and control such details, and the manner and means by which the results were to be accomplished, such a finding would indicate an employer-employee relationship. On the other hand, the absence of those elements of supervision and control by the company would support a finding that the workers were independent contractors and not employees. In this regard it should be kept in mind that it is the right to control and not the actual exercise of control that is important.”

A stage manager, although does some work that they control their own schedule, the theatre will ultimately state when they have to come into work . . . such as show time.

I have worked for two fairly large theatres that realized unless an employee is a TRUE intern, they should be paid hourly – to bring them in line with federal labor laws.

UNLESS YOU ARE VOLUNTEER AND IF YOU ARE BEING PAID, YOU SHOULD BE PAID AT LEAST MINIMUM WAGE.

Stage Managers do not fall under the category of EXEMPT employees by the Federal Guidelines – so even if you are paid a salary, there would have to be overtime – which is what the AEA salary structure is – Salary + Overtime.  One of the layman’s touchstones of if a position is EXEMPT or not is the ability to HIRE or FIRE, and very few stage managers have that.  You can go around and around with the legal definitions- but I doubt  we are covered under this definition of EXEMPT employees.

“Executives are the first type of exempt employees. Their primary duty is to manage an enterprise, a department or departmental subdivision. To be classified as executive, the person must direct the work of at least two workers; have the authority to hire and fire; and use discretionary powers. Examples include department managers or supervisors who are directly associated with management decisions and the direction of the staff.

Some administrative employees are also exempt from overtime pay regulations. To qualify, the person must perform office work related to management policies or general business operations; handle administration of a school system; or regularly exercise independent judgment and discretion. Some examples might include executive secretaries or administrative assistants

Professional employees also are exempt if their primary work requires advance knowledge acquired by specialized study, or if they must use discretion and independent judgment in their jobs. In other words, their work must be intellectual and varied, not standardized. Teachers, engineers and attorneys are examples of professional employees, as are highly skilled computer software workers.

The final type of exempt employees is outside salespeople. To qualify, they must be customarily engaged in selling or receiving orders for the company's product or service. Also, the employees must regularly work away from the employer's place of business. “

I do not have a law degree, and this texts are pulled from the web – all I know, from going through job studies at different theatres there was no way to justify non-AEA stage management positions as anything other the HOURLY employees to legal counsel that was involved.

Now, how can they get around this?  Make the position volunteer and reimburse for expenditures . . . up to a certain amount.  But even a volunteer can pick and choose when to come in.

The reality is, if you are doing a job, you should be paid. 

Flat and simple.

(I am not a lawyer . . . if you need further information, talking to a lawyer)

1320

Students and Novice Stage Managers / Re: First time with Equity

« on: Aug 21, 2010, 02:01 pm »

I actually have a sign in sheet on every daily call starting with the first day of rehearsal . . .

a) It gets them in the habit of signing in
b) it gets them physically to the call board to read the call in case something has changed (noted by highlighter)
c) It gets them physically to the call board to look at the call board for any notices.