Messages

136

The Hardline / Re: AEA Experimental Contract - Workshop Musical - Help with Meal Break

« on: Jul 29, 2010, 10:46 am »

For other Lort theaters I've worked for, if an actor is rehearsing one show and performing a different show in the same day for the same company, the travel time has been part of their meal break - so those actors tend to vote for a 2 hour break before half hour.

I would guess in those cases that the actor involved was working on two separate contracts, not on one rep contract, and therefore getting two checks.  When I worked at A.C.T., we always counted travel time from the costume fitting at Market & 9th to the rehearsal studios at 30 Grant as part of the costume fitting time.

Discovering that the rehearsal studio and stage are separated by a parking lot is a lot different than what I was envisioning from last year, with the ten minute drive in between space and stage.  But still, these are performances in front of a paying(?) audience and that's why AEA had them do this under Ex.Th. not staged reading.  5 hours rehearsal on a performance day.  Have you called L.A. AEA to check on this yet?

137

The Hardline / Re: AEA Experimental Contract - Workshop Musical - Help with Meal Break

« on: Jul 29, 2010, 12:13 am »

The Experimental Theatre rules are part of the LORT rulebook.  Look on page 76, Rule 56 (C).

What's the run time of the musical?  How much load-in/transport do you have to do between the studio and the theatre?  Seems to me that the transport time for the actors between studio & theatre should come out of rehearsal or tech time, not out of their meal break.

I also have never heard of breaking up a 2-hour meal break into a 1.5 hour chunk and a .5 hour chunk in two different locations.  This sounds really weird to me.  They didn't do this with any of our productions last year, did they? 

Here's my thought process: a ten-out-of-twelve day doesn't stipulate that the meal break has to be two hours long, only that rehearsal must be limited to ten hours.  But, a musical needs to have a two hour meal break after no more than 5 hours of rehearsal (true, it can be shortened to 1.5, but only by cast vote and that shortens the day itself) in a regular 7- or 8-hour day.  That to me says that the meal break is two hours consecutive, not a 1.5 hour chunk and a .5 hour chunk.

Finally, this is a performance; you're limited to how much rehearsal you can do on a performance day based on the run time of the performance.

Not sure what scheduling constrictions the theatre is trying to work around here but it seems really sketchy to me, particularly the idea that the actors rehearse in one space and use their break time to travel to the theatre.

How come the rehearsal space at the theatre is unavailable?

138

Stage Management: Plays & Musicals / Re: ESCRIPTS Archive June 09-Dec. 10

« on: Jul 23, 2010, 02:05 pm »

Does anyone have Fuddy Meers?  Please PM me.  Thanks!

139

The Hardline / Re: SM Subcommittee forming

« on: Jul 15, 2010, 01:04 pm »

Well, from what I understand, Chicago's only done it twice.  We haven't done it at all, yet.  If you'd like, I'd be happy to report here what happens at our event.

But I don't expect that we can set it up like a job fair; I don't think the producers could time all their hiring requirements to prep for the same night.  I do expect to get face time between our members and the people who could hire them.  We have a problem here in the bay area that producers isolate themselves to fewer than three stage managers, and have no clue who else is working in the area; so when one of their stable is unavailable for whatever reason, they have a hard time searching out the other SMs that they might like to work with.

If they have met these SMs, and kept their resumes on file, then these SM will probably be the first to get called when an opportunity does arise.  That's my hope, anyway.  So I don't really expect to be filling job positions at the event I'm envisioning; just opening the door to make future interviews smoother.  It's hard to say what direct impact we can have with a night like this.

On the other hand, I'd be thrilled to get in touch with one of the folks who organized Chicago's event, and use whatever systems they put in place to make it happen.  I've lost the contact info that was in the Equity News article and it's not online, so if anyone knows how I can get in touch with them, please PM me.

Thanks,

140

The Hardline / SM Subcommittee forming

« on: Jul 14, 2010, 11:15 am »

Did any of you read in Equity News a couple months back about an event in Chicago that got stage managers together with producers/prod managers for a speed-dating style networking & resume event?  I really want to make that happen in San Francisco.  I know at least a couple producers that need to meet more of us, and would be interested in attending.  So, I'm announcing a meeting.

Calling all Bay Area AEA stage managers:  I'm attempting to get an SM subcommittee formed, and I'd like to get some friends involved.  I hope that some of you will be able to come to this meeting:

Monday, August 9th, 2010
6:30pm-7:30pm
Emma's Coffee House
1901 Hayes Street (between Clayton & Ashbury)
San Francisco, CA 

The purpose of the meeting is to form a Stage Manager Subcommittee to AEA's Bay Area Advisory Committee, and the Subcommittee's first action will be to plan a networking event (on the Chicago model) for SF Bay area stage managers and producers.

Please let other AEA stage manager friends know about it.  Please get back to me if you plan to attend.

Thanks!

--
Heath Belden

141

Employment / Re: CAREER GROWTH: Taking control of your career

« on: Jul 07, 2010, 01:44 pm »

We do have a fairly striated hierarchy of theatres in the U.S.  As I was coming up through the ranks, I looked for jobs in the smaller theatres and could afford to work for only a couple hundred dollars a week.  I think, at that level, that since I just kept working, I slowly came to the notice of larger theatres.  I also showed that I could get hired repeatedly at theatres.  I set up interviews at the next level of theatre, and I kept in touch with those theatres as I worked.  After a couple of years, the larger theatres called me.

I also paid attention to what was happening in the theatre community.  When I saw in the fall that a mid-size theatre in my area was getting a new Artistic Director, I set up an interview with that theatre's production manager (they were looking for an SM for a reading).  At that interview, I mentioned that I was very interested in the new A.D.'s first show that spring.  The production manager was non-committal about that but I did get the reading.  After I aced the reading (of course), they offered me the job to stage manage the A.D.'s first show.  I wasn't so very interested artistically in that particular show, and I did turn down a show that paid more money per week, but it was the start of a great relationship with that A.D. that led to several more shows over the years, and is now a resident PSM job with that theatre.

I tell that story just to make concrete an example of "networking".  I invested in smaller projects (the reading, the first show) to create a relationship with people who would hire me in the future.

I also try to keep in touch with the large theatres.  They have staff that stick around for years, of course; I think they're all in the middle of a twenty-year run, just about.  But since they know that I'm around and working constantly, I'm betting that some year I'll get the call and be able to move on up.  The point is, putting yourself in a place to be able to accept the opportunity when it arises.

142

The Green Room / Re: Are there any AEA SM moms?

« on: Jul 07, 2010, 11:04 am »

I'm not a mother, but since every household is a two-earner now, my experience is not as dissimilar as it would have been twenty years ago.  I certainly couldn't have made it happen without a solid partner and a group of friends in place for support.  We also found ways to share the chores - my wife didn't mind pumping, so we always had bottles in the fridge and any middle-of-the-night jobs were mine; then she took care of the kid in the morning so I could sleep in.

For babysitters, since we live almost on the USF campus, we've built up a stable of four or five college students who come regularly.  We work out the schedule around their classes; and we tell them that dependability is what we require.  They also work cheaply. 

Also, I've found all the bay area theatres to be extremely child-friendly - I was second ASM for THE KING AND I when my baby was born (four weeks early! really had thought that we'd figured out the schedule) and I had the full support of the theatre and performers when I had to leave at the start of the first day of tech.  N was born during the second day and I was back at work the third day, happy as a lark.

Of course it's hard, but I'm not certain it's harder on SM's than it is for any other person.  Video chats on the computer are a great boon to us working parents.  Also, I get mornings with my daughter almost always, and can often work mornings at her pre-school, which I love.  We get a lot of things that regular 9-5ers never get to see.

Hope this helps.

143

Stage Management: Plays & Musicals / Re: Racism in the Rehearsal Room

« on: Jul 02, 2010, 05:13 pm »

Here's the How to Tell People They Sound Racist youtube. Everyone should watch this, it's only a couple minutes long. 

http://www.youtube.com/watch?v=b0Ti-gkJiXc

Racism is really difficult to deal with, and we all need to attack it in ourselves as well as in others.  And, putting the "racist" label on something or somebody is the fastest way to end all constructive dialogue that I know of.

thankyou5, I'd ask why that comment got under your skin, and what it is about your director's perception of facts that bothers you.  In other words, what specifically is the harm done by your director's statement, and to whom?

I'm not asking because I want to know; I have my own answers.  I'm asking because you need to have delineated it as specifically as you can so that when you approach your director about it (and I hope you do) he or she might actually learn how to change behavior rather than simply saying "I'm not a racist, how dare you?"  Nobody gets helped by that conversation.

144

Students and Novice Stage Managers / Re: Potential for issues with ASM

« on: May 28, 2010, 05:31 pm »

Also, don't get too hung up on the Assistant part of the title.  While it's traditional, it doesn't necessarily translate as "Assistant Director" or "Assistant Producer", which are much more of a subordinate position. 

ASM is like the A2 for sound.  They may be as technically advanced and experienced as the Sound Board op, but their job is to be onstage and deal with microphone or monitor issues.  The ASM is more of a Deck Stage Manager than an assistant, and a really qualified stage manager on deck is a gift to any Stage Manager.  Think of the two of you as the Stage Management team, with equal and different responsibilities, and approach the ASM with that in mind.

Just my 2 cents worth!  Discard if it doesn't make any sense.

145

Stage Management: Plays & Musicals / Re: REHEARSALS: Director makes a poor decision of a character

« on: May 28, 2010, 05:14 pm »

I obviously agree with everything that's been said so far, and I also think that as the producer's employee, the stage manager has a responsibility to make the producer aware of problems that would seriously affect the quality of the show.

In a situation like yours, I'd make sure that there was some kind of a run-through soon that matched the producer's schedule and strongly suggest to the producer that she/he attend, without criticizing anything the director is doing.  If the producer asks for something specific, why you're making a point out of it, you could say something like "I'm concerned about the character arc for X; I don't think it's going to stitch together when we do a run." That could be either a director problem or an actor problem, and you can always play the "I'm a stage manager, not a director, so I'd appreciate your input" line.

However, if this is the same show as your other thread about the producer and director fighting each other, then my advice is pretty worthless in your particular situation.  The only thing I'd advise in that case is to do your best to understand what the director wants and then do your best to make it happen.

146

Students and Novice Stage Managers / Re: How Many times have you stage managed?

« on: May 25, 2010, 08:21 pm »

Let's see... *checks CV* ...I've worked on or performed in 127 theatrical events in my life and of those, *counting* ...82 have been in stage management (since 1997).  Five more on the books next season!  I think I'm slowing down.  Or maybe just doing fewer readings...

147

The Hardline / Re: LORT: Seasonal Contract

« on: May 05, 2010, 04:45 pm »

Aha!  So if the prep week for your next show overlaps with an extension week of performances on the previous show, you get only one paycheck, not two.  Correct?

Yes, this helps a lot.  Thanks.

148

The Hardline / LORT: Seasonal Contract

« on: May 04, 2010, 01:54 pm »

Has anyone ever been on a Seasonal Contract under the LORT rules?  Where did that come from?  Does it have any benefit for the producer, as opposed to just getting contracted show-to-show?

Thanks,

149

The Hardline / Re: AEA Accident Report Vs. Workers Comp Forms

« on: May 02, 2010, 05:18 pm »

I just found the reference I half-remembered.  In the SM Packet, the first page is "Stage Manager General Information."  In the paragraph headed "Accident or Injury", it reads: "Please report all accidents or injuries to Equity on the back of your Stage Manager’s Weekly Report Forms. Also, please be sure the Deputy fills out the Accident Report Form included in the Deputy kit."

Has anyone ever done this?

150

The Hardline / Re: AEA Accident Report Vs. Workers Comp Forms

« on: May 01, 2010, 04:12 pm »

Aren't we supposed to write down injuries on the back of the weekly report, the one that we only fill out if there's a violation?  (I don't know for sure, as I haven't yet been in a company that had a violation to report.)