Messages

136

The Hardline / Re: Just got my card with a SPT contract

« on: Mar 03, 2009, 05:44 pm »

I agree with VSM, on all points.

At my SPT our dance captain was the Asst. Choreo and not Equity. This was never a problem that I could see.

137

Tools of the Trade / Re: Useful iPhone apps?

« on: Mar 02, 2009, 03:04 pm »

I too use Facebook every day, as well as Air Sharing, maps and some knitting apps that I've downloaded.

I use Yelp fairly often as well, probably weekly, and then I have a number of free games that I play on and off - I like to rotate - especially on the subway or bus. I also downloaded MobileChat, a multi-chat program, so that I can have my google chat and AIM contacts in one place. I like it better then I do AIM, but I have that as well. To date MC is the only app I've paid for, but aside from games that I downloaded and I did not like, I have yet to get an app that I don't actually use.

Oh - I use my flashlight all of the time!

John - what's city transit?

138

The Hardline / Re: Just got my card with a SPT contract

« on: Mar 02, 2009, 11:02 am »

I spent quite a bit of time on SPT too, so feel free to ask questions! I sure asked enough when I started out on that contract and everyone here was very helpful!

139

Students and Novice Stage Managers / Re: Writing down Choregraphy??

« on: Feb 24, 2009, 02:25 pm »

Just curious, what you do when you don't have a dance captain.

140

Students and Novice Stage Managers / Re: Blending a libretto with a score

« on: Feb 17, 2009, 01:10 pm »

I think that the title to your post is your best solution:

A blending of the 2 that will best suit your needs. Does this revue have only music, or is there actual script as well? If so, I would go back and forth from book to music as needed, even if it means doing something like drawing a big line and an arrow that says "Turn NOW!" and on the next page have your needed music.

As for blocking, it's up you to as well. Do you think you'll need it, or at this point are you familiar enough with the blocking that if something looks wrong you can take a note? When I add music to my script (where I do keep blocking) in a musical, the pages from the score do not have blocking on them, unless it's a trigger for a cue.

Some SMs keeps 2 scripts entirely, 1 for blocking/rehearsal and one for calling, and don't transfer everything.

If you want, I can scan and email you some pages from my last big musical which has book (If I can find it...I moved recently and have yet to unpack the old SM stuff), blocking and score blended together. PM me.

141

Tools of the Trade / Re: Favorite Deck Flashlight?

« on: Feb 11, 2009, 10:25 am »

I have 2 favorites:

1. My mini Mag, with the bite-right topper. Great for those fly-by-night techs (FringeNYC comes to mind) where there aren't enough goosenecks to go around.

2. A River Rock LED light. It's small (about 4.5", 11.5cm in length, maybe 1.5" diameter), wicked bright and just great all around. Apparently they are sold at Target and are actually made by the Mag folks, but I don't see it on their website.

142

The Hardline / Re: Meal break and scheduling

« on: Jan 05, 2009, 12:58 pm »

Matt, in your world, does the Director tell you what s/he wishes to rehearse the next day, and YOU do the scheduling based on that, or do you and the Director actually create the schedule together?

I don't make the call until the night before, and meal breaks are always flexible based on the needs of the next day.

Planning a month in advance would be impossible in my world.

Oooh...I like this question, and I'm interested to hear answers from both Matt and Ruth!

Regarding the scheduling, I agree that the lunch breaks are scheduled daily/weekly based on the needs of rehearsal. I see a monthly schedule as an overview of when there is rehearsal vs. when there isn't, which is still subject to change (and probably will!).

143

Employment / Re: Websites

« on: Dec 31, 2008, 01:51 pm »

[/quote]
However, I'm not sure I'd put my home address on it, if I were you.  Phone and e-mail are usually sufficient first points of contact.  If you really feel you need an address, do you have a P.O. box, or would the theatre you're currently working for let you get mail there?  Just looking out for you!
[/quote]

I'm going to second Tempest here (and anyone else who may have made this comment as well). I don't think that it is at all necessary (and potentially unsafe) to put your address on your resume/business cards.

I know that a while ago there was a trend in doing this to prove that you were 'local' as it were, but I don't think that's needed these days. At least, I've never had anyone in NYC confirm with me that I live here. I apply for work here, I have previous experience here, so I feel that I don't need for people to know where I live specifically.

144

Employment / Re: Facebook through an Employer's eyes?

« on: Dec 17, 2008, 11:35 am »

Is there an SMNetwork group on FB? We should create one if not!

145

The Green Room / Re: Trivia Tournament II: Electric Boogaloo

« on: Dec 10, 2008, 02:54 pm »

Yes, I have given up the trivia quiz on the basis that I can't answer Stephen King questions!

I got 2 Stephen King questions today too.

146

Students and Novice Stage Managers / Re: KCACTF Region II

« on: Dec 02, 2008, 06:52 pm »

Kennedy Center American College Theatre Festival

It's a national theatre conference that's divided up into Regions. Usually held in January. Region II, also called the Chesapeake Region is comprised of PA, NJ, DE, MD, NY, and DC.

http://www.kcactf.org/

Arielle - I was in region II in college and went to 4 festivals, though I never went with a full production. Let me know if there are any general questions that you have. Philly is my hometown, so I have plenty of suggestions about what to do and where to go!

147

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 20, 2008, 10:21 am »

The sarcastic response, which personally I don't think it was, was in response to the lack of support from the people who I expected to be at least the slightest bit sympathetic.

What I was trying to say was that I am aware of the logistics of the situation, but that doesn't take away the fact that it was a surprise to everyone, and it upset me that it happened, and it upset me more that the people who could have chosen to be less harsh in their objective response decided not to take that route. I think that it is important to see both sides of what happened and why, just that there could have been a better way to say it.

Look at the title of the post, and the first line. I understand of the realities of the working world, I just needed to kind of stomp my foot and scream a little bit to people who maybe have gone through this before. I was never expecting anyone to say 'Wow, that's terrible and wrong, and shame on them for making that choice,' and I certainly don't expect a phone call tomorrow from the company saying the same thing. I was simply looking for a brief moment of camaraderie or sympathy from people who have gone through this. Someone to say "This sucks, but that's the world. It will change, or you'll have to change." in a way that doesn't make me feel completely inadequate for having to make a  Perhaps I just didn't communicate that well enough.

148

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 19, 2008, 12:07 pm »

I'm well aware of what the rules are, but thanks everyone who felt the need to point them out and make me feel worse.

What I was looking for was some simple compassion. Perhaps a 'That stinks. It's happened to me before, and such is the way of theatre in this city.' Not a lecture.

The point I was making was that I was wanted on this production, and the director, production manager and SM were willing to work around the conflict. I had a sub lined up. The SM has a conflict with 2 days of rehearsal and they were allowing that. This particular company takes Mondays off as their standard, but it was at the director's insistence that they change it to Sundays, so he was will to make the compromise. He was also going to allow actors out for auditions on Mondays. I have personally never worked a show in NYC with a Sunday off, contract or not. I have actually never worked a show regionally with a Sunday off either. It was a decision that was made over their heads, and came as a surprise to all of the people who were OK with the adjustment.

Shit happens, people lose jobs, people don't get the jobs that they were hoping for, and I am very well aware of the reality of living and working in NY theartre. I understand completely that it's a big world out there, full of competition, but if we can't be supportive and empathetic of one another in this forum, what's the point of talking to one another? That's all I was looking for.

149

Stage Management: Plays & Musicals / Re: Child Labor Laws

« on: Nov 18, 2008, 11:46 am »

    * Youth working at home in the making of wreaths composed of natural holly, pine, cedar, or other evergreens (including the harvesting of the evergreens)."

I wonder where this one came from!

Clearly from the overly child-populated Christmas harvesting business...

150

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 18, 2008, 09:49 am »

I wonder if there may have been a different outcome if the producers were asked instead of informed of the situation after everyone else decided.

Allison

The producers weren't necessarily 'informed' rather than asked, they were apprised of the situation (me and my day job) when my resume was presented as a possible ASM, and the SM's choice. The director was the original holdup, but because he wasn't willing to move the Sunday off to a weekday, he conceded that my request was reasonable, and also that he would be willing to schedule Mondays around the actor's audition conflicts. The producers were then 'informed' of the director's approval of my schedule at yesterday's meeting.