Messages

136

Employment / Re: Job Reference

« on: Apr 05, 2007, 09:17 am »

Strange as it may seem, often legal definitions are different from literal/dictionary definintions. Legal definitions also have a reputation for being built out of silly putty. As we've seen in this discussion, slander is a slippery and volatile issue. In these choppy waters, it is always best to play it safe! I think some of the members who (unfortunatley) have experience dealing with slander have offered some great advice about how to handle yourself when asked to comment on a tricky reference. Tell the truth and when in doubt, it's probably best to say as little as possible.

137

Stage Management: Other / Re: WWW detail question

« on: Apr 01, 2007, 09:30 pm »

Exactly. A WWW is not a run sheet; It is a reference tool. You couldn't call a show from a WWW, nor should you try.

As far as the concern over sightlines, a performer exits when they are not in the stage area anymore. If you want to be stressed out over when a performer leaves sightlines, I can think of many dancers who have never actually "exited" for entire performances.

138

Stage Management: Other / Re: WWW detail question

« on: Mar 31, 2007, 08:27 pm »

I my experience, the exit is listed when the performer leaves the stage, not when they start leaving the stage.

139

The Hardline / Re: Opera pay..

« on: Mar 31, 2007, 09:34 am »

Pay in opera varies widely, depending mostly on the size of the company. That being said, opera usually pays pretty well comparably, because shows are intense but short (often 3-weeks of rehearsal and a much shorter run than plays/musicals).

Most first- and second-tier opera companies are AGMA, and you will be paid according to the union rates.
If your opera company is not AGMA, your pay can vary a whole lot. Sometimes there is a big difference between PSM and ASM pay, and other times the pay is closer together.

I know this is really vague, but there isn't a standard answer for opera pay. I'll PM you and we can discuss specifics!

140

The Hardline / Re: LOA?

« on: Mar 31, 2007, 09:27 am »

LOA stands for Letter of Agreement.

Usually, for non-union engagements, this is the "contract" and it's the only official piece of paper you'll receive confirming the terms of your employment. All the basics are usually covered: fee, payment schedule, dates of engagement, dates of performance, general job duties (sometimes), indemnification and jurisdition clauses (to keep the lawyers happy). Sometimes you'll see things like supervisory titles, dates of design submittals (for designers), travel/housing, per diem, pension/retirement contributions, equipment/studio fees, or any other negotiated terms. Because a LOA is not really a standard document, they can range from one page to several pages long. The LOA is usually signed by the Artistic Director or General Director/Manager of the theatre, though it is probably processed by an administrator in your supervisory department (Production/Tech/Artistic/whatever).

A LOA does not follow any union regulations, so if you are taking a union job, a standard contract will probably follow, as dramachic explained.

Usually when a document is issued ahead of time confirming negotiated dates/rates it is called a Letter of Intent (LOI). This is an even stranger duck, as it is not really binding at all, but a nice confirmation that you will be offered employment. However, if the show is cancelled or something, this letter doesn't really offer support. If all goes well, a LOI is followed by a proper contract, be it a LOA or standard union contrat.

141

Stage Management: Other / Re: Tips for "Ariadne auf Naxos"?

« on: Mar 26, 2007, 02:30 pm »

Ariadne is a lovely show that is usually fairly simple technically. The music is rich and you can get thrown in a couple of parts if reading music is not your strong suit.

As the other posters have noted, you will probably be taking blocking in your piano/vocal (P/V) score but stage management is never "on book" in an opera. Your ASM should be ready to cue entrances in rehearsal and backstage, and that you might consider delegating a tech area (like costumes or props) to be the full responsibility of your ASM. My only recommendation in general for this one is to muster your patience and grace for dealing with all your principals - do you best to make all of them feel like their comfort and creativity is the very most important thing to you. They'll love you forever, and it will make the overall process run much more smoothly.

142

Stage Management: Other / Re: My first opera! The Magic Flute

« on: Mar 26, 2007, 02:10 pm »

The Magic Flute is an absolute beast of an opera. As other posters have mentioned, it can get tech heavy, so find out early what you'll be dealing with onstage.

Get a recording, prep your score thoroughly, and spend time following it every single day. Whether you're in rehearsal or not, sit with the score and try to get through the opera every few days. You'll identify the hard sections quickly enough. You must must must be able to follow the music impeccably to get this one up without losing your mind. If you are new to opera, this is definitely a score in which you'll want to mark to yourself where you need to begin speaking the cues so that everything is called perfectly. Stay close to your Maestro throughout rehearsals and stay on top of cuts and tempi.

143

Stage Management: Plays & Musicals / Re: Keeping it Straight with BIG CASTS

« on: Mar 26, 2007, 01:59 pm »

Now that I live in the opera world, pretty much all my shows are 100+ people.

I have the chorus and supers wear nametags, color-coded by voice type, throughout staging rehearsals.
I notate blocking using initials (make a quick check before rehearsals begin to identify any repeat initials, like Brad Smith and Betsy Sledd). Prinicipals are notated with the character's initial inside a circle - this also helps the principals stand out on my blocking pages that end up covered with scribbled initials. Also, stage management usually makes little wallet cards for ourselves listing principals and small roles. This way we can always pretend to know their names. Eventually we'll get the chorus. Or maybe not - which is unfortunate and a little cold, but not a tragedy.

In order to get to know chorus/super names faster, I try to talk with people during breaks and before/after rehearsals. I get to know them, so then I remember that Joni Arnold is a little kooky about her cats, and George Parks loves to garden. It helps make them into real people and not just faces in the crowd. I also get to know stagehands this way. Actually, at load-in I write down the names of all the people working the show - by department - so that I can remember their name, especially over headset. Now, recognizing crew by headset voice alone, that's a little trickier.  Also, I have some sort of chip misplaced in my brain and have trouble recognizing faces. Just when I've got the cast down, they go into dress, wigs, and makeup, and I can't recognize anyone! I warm people about this before first dress rehearsal, and they always tease me about it.

144

Stage Management: Plays & Musicals / Re: YAle Short Hand

« on: Mar 26, 2007, 01:48 pm »

For the record, I always have a blocking key in my book - my nod to HBAB.
But I've always made up my own shorthand, even though my notations seem pretty close to what I've seen others do.

145

Employment / Re: Too Old

« on: Mar 22, 2007, 12:07 pm »

I'd like to add to this thread that being considered "too young" is also a common fiction. While many "young" SMs can be the stereotypical overeager/underexperienced types, some people have a natural knack for the job and an innate talent for SMing like a born professional.

One of the best ASMs I worked with was an intern we recriuted from the children's chorus of an opera company to work the AIDA (we knew it would be huge and needed more help). She was 13, but a powerhouse! She was amazingly on the ball, always exactly where she needed to be, and perfectly in control backstage - in fact, better than the other ASM on many things. Her natural talent made even the principals respect her. I never worried for a second when I knew she was on the project. And I think she realized too that not every company would bring such a young SM onto such a large project. In fact, someone took a chance on me as a very young SM back in the day, and it put my career on track.

There's no such thing as too young or too old.
It only matters that you are excellent at what you do.

146

Stage Management: Other / Re: Just did my first wedding...

« on: Mar 22, 2007, 09:32 am »

I distributed "run sheets" to the wedding party, who knew me well enough to indulge me. It included all deliveries, arrivals, phone numbers, and logistics (cars and parking). It was probably a little much, but useful nonetheless.

I was also able to sneak a little Bride's SM kit under my table at the reception. It included mints, safety pins, makeup, tape, a mini lint roller, a tide-to-go stick, bobby pins, super glue (you never know), a hankie, pens and a mini notebook, and other girlie things like blotting paper. I don't think I ever even used it. Just knowing this was tucked under my feet made me feel like I was ready for anything. 

I would definitely recommend to all you bride-to-be SMs out there that you let go of as much control as possible on the big day. Ask other people to take care of it, and then trust them. Remind yourself not to worry. When you feel your eyes scanning the A/V setup during the speeches, STOP. This is an important day, and you deserve to enjoy each moment. I know you'd enjoy it by coordinating the bar setup and cueing speeches, but you have more important things to do. Like walk around in a cloud of bridal bliss with your new husband. So please, call in one of your SM friends to handle your day. You need to relax and be the Bride ('cause you can't call in an understudy today).

147

Stage Management: Other / Re: Just did my first wedding...

« on: Mar 20, 2007, 08:13 pm »

I had a SM friend "stage manage" my wedding because I knew that I would do it myself if someone I trusted did not. And you can't exactly lay cable in those froofy dresses.

It was a low tech and low production affair - no piles of white tulle and only 80 guests (which seemed huge to me!). A friend DJ'd from his laptop with speakers on sticks. Another friend catered. That was pretty much it. I basically needed someone to check set up and strike, and I really wanted to do it myself but knew that I had to give up that control on my wedding day. It turns out the caterer was a mess, and my SM girlfriend had to dig into the food prep because nothing was ready to serve! Besides that amazing above-and-beyond duty, she mostly made sure everything looked pretty and ran well on the day of the event - almost like a wedding planner. I kept telling my mom that I would be happy to break down tables after our reception, and honestly I would have been. But I really knew that it was out of the question, so I got my wonderful friend to handle this for me and never had to worry for a second.

148

SMNetwork Archives / Re: I HAVE to share this

« on: Mar 20, 2007, 01:56 pm »

gymacafetorium

That's my favorite - ha!

149

College and Graduate Studies / Re: NC School of the Arts

« on: Mar 20, 2007, 01:45 pm »

From what I've heard, it's an extremely well-renowned program.

I have personally worked with one graduate and she was - terrible! She also had a major ego and was spoiled with the level of production she had always enjoyed. She couldn't deal when we had to run a first tech rehearsal without headsets. I know it's not ideal, but life needs to go on. I really think that this was just the attitude of this particular individual, however.

150

The Hardline / Re: Copyright laws

« on: Mar 20, 2007, 01:41 pm »

Stage Manager/Production Manager/Director/Producer are a slightly different kettle of fish (being management)

Not true - SM and Director are also independent contractors. PM might be a staff/management position, but might also be a contractor (happens rarely). Producer certainly is a managing figure.

Please note too that if you make other recordings for broadcast - not for archival purposes (for example: radio (NPR), television (PBS), or satellite (simulcasting)), you must have an additional agreement with your rights provider and each individual union involved in your production. Usually these union agreements will stipulate that you must pay the artists an additional fee for any broadcast/recorded performance. Then you will have to get each artist to sign a contract addendum. It's a lot of legwork, but that's how you cover your bases.

Listen, most publishers or unions aren't going to file a lawsuit against your neighborhood community theatre for somebody's mom filming her kid's performance as "2nd monkey from the right". Nor do they send a secret agent representative to be sure that no spy cameras are recording the performance. Do your best to try not to let it happen, but don't run around screaming "lawsuit". The big thing is that having illicit recordings out there will weaken your position when you go to negotiate your new union contract.