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Messages - MatthewShiner

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1366
Employment / Re: CAREER GROWTH: Taking control of your career
« on: Jul 06, 2010, 01:39 pm »
I also think it feels like one can focus only on the tree (job) and forget the whole forest (life).

Yes, it does feel like that at times . . . the problem is does the forest suffer for a single tree? 

And regarding those steps . . . we shall see what the forest has waiting for me.

1367
Employment / Re: CAREER GROWTH: Taking control of your career
« on: Jul 06, 2010, 12:20 pm »
Not to get too personal, but based from what I read on this site you are just a few short steps from landing a Broadway gig. And you don't have to answer this, but when you do get it, will you be satisfied? Will there be no more steps? If so, how will you handle that?
(and again I apologize if I'm getting too personal)


A few short steps away from a Broadway show . . . well, those can be big short steps. 

What will satisfy me . . . I think it's becoming less and less about a destination and more and more about the journey. 

For me, the reasons to work more in commercial theatre are all about means to and ends.  One, to be able to work and stay in one location to spend more time with my partner.  Two, make more money when I am working, so I can take stretches of time off.  Three, make more money when I am working, so I can pick and choose and the projects I work on.  So, I am not seeing Broadway or Commercial theatre as the end, but as a step in my career growth.  I am also looking down the line to teach, and the more variety of experiences I can get on my resume, the better.    I also know the type of shows I enjoy working on lend themselves to being produced in a commercial theatrical setting.

I know that Broadway or other commercial theatre will not be the answer to all my career goals - and I know myself well enough now to know that there is really not one thing that will satisfy me.  (Other then a regional theatre type job in a big city that does a variety of work, allows me to both PSM and ASM, pays me Production Contract money, and allows me to rehearse a show every three months, and take off time when I want - oh, and a teaching component . .  .)

And it's just a fact of life, that there is often a termination point in this career when you are just done with the career or the career is done with you.  What next?  Who knows.  I don't think you can plan that far in advance.  One of the reasons I went to grad school was to open up teaching as a possibility.  I am intrigued now by producing, company management and other elements of that world.  I would also be interested in Production Management.  Outside of theatre, I feel like I can bring a lot of my skills to other areas. 

But, you do hit on something I feel very strongly about the fact this career can feel a lot like a drug addicition - where you are looking not only for you next "hit" (job), but also find that you need to find a bigger and bigger "hit" to give you the same buzz.  Which is good, because you often need to find the intangible things - like the buzz you get from the job - to make up for what you don't make in pay, status, or hours.


1368
Employment / Re: CAREER GROWTH: Taking control of your career
« on: Jul 05, 2010, 11:32 pm »
I do wish the career was less and less about who you know, and more and more about the experience you carry and type of stage manager you are.  The system in place tends to reinforce bad stage managers who stick with it . . . and young stage managers who will work for next to nothing.


1369
Employment / CAREER GROWTH: Taking control of your career
« on: Jul 05, 2010, 07:08 pm »
When my brother graduate with a degree in business (or some sort of real world career major), he has the job, company car, business card, the whole nine yards.  And his career has been a pretty linear growth over the years.

I find one of the very awkward and frustrating thing about a career in stage management is there is no linear growth, there is no clear path.  We often spend too much time looking for the next job, that we are rarely in the position to figure out what the next step in our career should be.  We can easily get caught up in jobs, that may loose the sight on how advance the career.  And often, to be honest, we may never find a place in our cycle of jobs to take a look at the bigger picture.

I was wondering how people have dealt with this in their lives?  Do we just keep looking for the job, and hope for the career advancement?  (I mean eventually . . . I mean eventually, you should be moving forward.)  Do we get frustrated and just give up?

I know that I took a huge risk leaving behind a secure, full time stage management to get to geographically shake myself up . . . by moving to a larger market with more growth opportunity.  I really didn’t know, other then leaving stage management of live theater, how I was going to prompt my career to grow.  It’s not about making more money in the short term . . . it’s about overall growth, and a potential of making money further down the line, and also about new challenges in a new environment that will make the job interesting enough to continue (dealing with the boredom factor).

In a career where luck, opportunity, connections and so many other things out of our control affect our career, how do we take control of it and help it move along the path we would like for it to go?

1370
I second the magician.  A small amount of money for a little consult could come up with three or four options that will work for you.

1371
Tools of the Trade / Re: Paperless World
« on: Jul 03, 2010, 06:52 pm »
Just imagine the one night you don't have access to the web, and have to figure out an entirely new way to distribute information.  Or the night the actor's web enable phone dies because he left the charger in the rehearsal room.  Or, or, or.

Or, just think of loosing a hub of communication backstage that is the call board.  There is something in the historical and traditional sense that will be lost . . . I would personally hate to see the call board go the way of the dinosaur.

I think there is something to say about low tech solutions that are pretty much fool proof.

1372
ALL OF THIS IS MY OPINION.

Let’s be clear, I am a white, male stage manager (of a certain age, of a specific sexual orientation).  This is my opinion, and I am sure other people will have much more to say about this.

First off, let’s ask an interesting question, was it racist not to hire a African-American Director and Stage Manager for an African-American Musical?  Just wondering.  [There is a topic that could be an entire thread on it’s own - sexism and racism in stage management, especially commercial projects.]

Second off, what would I do?  Hmmm, interesting issue.  Is this director of a certain age?  A different generation?  There might be little you can do other then suck it up - you aren’t going to be able change someone’s racist viewpoints and personality in two weeks. 

I think, in hindsight, I would have played dumb, and asked the director “What do you mean?”, “How so?”, “I am not familiar with that saying” to the point that the director would have to realize that they were being racist.  (play really dense playing that you yourself didn’t understand the stereotype.)

I think, again if I wasn’t speechless, I think I also would have said, and this is a personal thing based upon my SM style and personality -  “I don’t like to make assumptions about possible problems with casts until  a specific situation arises, I am always afraid of assumptions like that might  become self fulfilling prophecies.  In the two weeks, I am sure a whole hosts of issues will arise, I don’t want to make some up for based upon a stereotype.”  Or, again, depending on my relationship with the director, I might have said (based on my irreverent personality) “It’s 2010, did you just say that?”.  But again, totally depends on the situation and the power structure in the room. 

Now, if these assumptions were made based upon certain individuals . . . like they cast Bob, Sarah, and Jessie, the director has worked with Bob, Sarah and Jessie, and working with Bob, Sarah and Jessie can be a bit like “Sunday in Church”, then perhaps this would be a different conversation.

If you don’t feel comfortable, think of how the cast is going to feel with this director. 

Is there someone other then director you can express your concerns?  A producer?  It might be wise to lay a little ground work, because this situation may grow and fester.  This person is a mentor, and I am sure someone in this organization is going to want to know of this particular issue. 

And depending on what comes out of this . . . it will be nice to start the paper trail early.

1373
The Green Room / UNPAID INTERNSHIPS: Interesting Article
« on: Jul 02, 2010, 06:36 am »
http://spotlightonpoverty.org/ExclusiveCommentary.aspx?id=39ca0dfa-3a26-4ede-8360-9606064e63f6

(Don't know this website directly, was linked to it . . . but find the very brief article highlight the basics I have always thought about internships.)


Internships: Gateway to Opportunity, or Obstacle? By Ross Eisenbrey, Vice President and Kathryn Edwards, Research Assistant, Economic Policy Institute
Posted June 28, 2010

Education is one key to economic advancement.  On average, the more education a person obtains, the greater his or her income. The implications for poverty have been clear: if low-income individuals increase their educational attainment, poverty will decline. But education isn’t the whole story. The school-to-work transition can make a huge difference, and internships have become critical to that transition.

 

But many internships today create or perpetuate serious inequalities, especially for students from families of modest means. Because so many internships are unpaid, the current system favors students from wealthier families. Unpaid internships require students to forego wages and finance a living without a paycheck, putting them out of reach for many low-income students.

 

Internships are now a standard component of a college graduate’s resume. They provide an opportunity to learn new skills, try out a certain industry or occupation, network, and meet professionals in a field of interest. In short, internships provide the crucial bridge between education and the labor market.

 

Increasingly, internships are a necessary prerequisite to a permanent job. A Michigan State University survey in 2007 revealed that half of all college graduate hires had previously interned at the firm where they were hired. A National Association of Colleges and Employers survey of employers found that 76 percent of firms reported relevant work experience as the primary factor that influences their hiring decisions.

 

The idea of an “entry-level” job has become something of a misnomer, as workers are expected to bring experience to the table before they’ve even started working.

 

The recession has only made internships more valuable: students who have completed internships have a leg-up over other job applicants in a tough job market for young, educated workers. The unemployment rate for college graduates under age 25 has averaged 9.1 percent over the past twelve months, up from 5.4 percent in 2007.

 

It is therefore critically important that internships be fairly distributed among students of every demographic group.

 

We estimate that a typical three-month internship in Washington, DC costs about $4,000, excluding roundtrip travel. For a family living at the poverty line, that is roughly a fifth of their annual income. It’s hard to imagine how a student from that background could afford an unpaid internship in the nation’s capital.

 

Internships should be awarded to those most capable, but the current system is marred by a competing standard—ability to pay.   The well-off get a boost over better qualified but poorer students who can’t afford to build a resume with unpaid work.

 

There are also broader implications for the labor market. The persistence of unpaid internships, and the willingness of students to accept them, encourages employers to replace paid workers with unpaid interns. Why pay a lab assistant full-time wages with benefits if three unpaid interns could do the same job? Interns, looking for experience and an advantage in an increasingly difficult labor market, are providing free labor for firms.

 

Current law, as established by the Fair Labor Standards Act and Department of Labor regulatory guidelines, has a six-part test to determine whether employers are legally required to pay interns, including that the intern does not displace regular employees, that the employer derives no immediate advantage, and that the intern is not entitled to a job at the completion of the internship. If all six parts are not met, the intern must be paid for his or her work.

 

Most internships at for-profit firms would not pass the test. Unfortunately, there has been little enforcement, primarily because the Department of Labor relies on complaints from workers to initiate investigations. Interns themselves must be the ones to complain—but many are ignorant of the law or too intimidated to speak up.

 

The result is that unpaid internships, though often illegal, are widespread, and students able to afford them get the experience all job-seekers are desperate to have.


Non-profits and government agencies may lawfully accept unpaid volunteer work, so unpaid internships are legal.  But they still disadvantage students from poor families.  This is especially troubling when the employer is a legislator or a government agency, since opportunities to learn how government works and to network in political circles could be crucial for future government employment.

 

The Labor Department recently announced it will devote increased enforcement attention to internships, but until it does, a system that worsens inequality will become more and more entrenched.

 

There are two solutions to this problem: either all internships should be paid or means-tested stipends should be funded to support poorer students accepted into unpaid internships at non-profits or in government.

 

A democracy should strive to provide equal opportunity to all citizens, based on merit rather than ability to pay.  Otherwise, what is given with one hand through education will be taken with the other hand by an unfair labor market.

 

Ross Eisenbrey is the Vice President of the Economic Policy Institute.

 

Kathryn Edwards is a Research Assistant at the Economic Policy Institute.

1374
just be careful about taking advice here . . . as even if it is a similar situation has arisen, it may not line up.  That is why we wanted to be careful that you talk to a professional l about the specifics of your situation.  When thousands of dollars on the line . . . I think we will would feel terrible about if you got the wrong advice.

1375
You know, you have to be very careful about this.

I worked on a show once where there was a general sense of frivolity among the cast and crew, with little jokes happening throughout the show - the show was silly, light and airy - and actually helped the morale and the general nature of the show. As things happened, I pulled people aside and said that it CAN NOT effect the show, but I hope they could figure out a way to have fun and do the show as directed, not have the audience or me know, and do their little jokes, so be it.  Life went on, everyone had fun.

I had to leave the show, and my assistant had to take over.  She had VERY little tolerance to this type of behavior, and came down hard.  Did the joking stop?  No, it actually escalated.  Stage Manager came down harder, they responded more.  It did eventually bleed out and effect the show.

It's a fine line to walk.

1376
I am not so sure a college degree HELPS you get a job in stage management . . . I think it's the experience.  It may help you get an internship or those first few jobs, but after that - the experience you have in the real world is what is going to get you the job.  Might it be better taking the $100,000 + you were going to spend on the education, and put it in a savings account?  As a rainy day fund?

One can make an argument that while getting the education you are making connections, but you could just as easily do that in the real world

I am a huge proponent of education, both at the graduate level and undergraduate level - but, education for education sorts - I firmly believe getting an education as a means to an end, that is to get a specific job, is a mistake for a variety of reasons.  One the cost ratio, especially for a theatre job just does not make sense.  Two, I firmly believe, like other people, that you will most likely change careers . . . or drop out of theatre all together.  Third, I think the value of the degree goes away after two to four years. 

Now, the value of the education will not.

I think from a social economic stand point (pardon me while I pull out this soap box), many people who go into theatre are from a certain middle to upper class background, where we may have a safety net of family to take of us if the theatre thing doesn’t work out (chances are, we were exposed to theatre during out life, so, that may also play a chance in why were are form a certain social-economic background as well).  This social-economic background also, usually carries the expectation of going to college . . . regardless of the degree (how many people was it just EXPECTED that we would go to college?).  So, many of us have gone to college, many of us are just expected to go to college.  There is also just the expectation that success comes with/from a college background . . . which I think is in the process of changing.  I know I am changing my attitude.

I think people should go to college to get a good, broad base education and go through the process of becoming a better person – and be open to the new experiences that a college or university education can bring you.  The trajectory you the may have planned for your life at 18 may be vastly different then the trajectory you have at 22 when you graduate.  I have to say, the trajectory I had for my career 12 months ago is quite a bit different then the goals I have laid out now.  Life changes, and if you can get a good education that can prepare you for everything, great.  If that education comes from a traditional four year college or university or from some other means, is a very personal choice.

1377
Given, the current economic crisis and the sky rocketing cost of a college education, is it a smart move to get a traditional four year degree from an university?  Factor in if you finance with traditional student loans that will a burden on a young stage manager as they start their career – and making the least amount a stage manager will make in their career.

I firmly believe that you should NOT be going to college specifically for a certain job – I think a college education should be about bettering yourself and getting a good education for whatever life may deal you down the line.  At 17 or 18, when you are applying for college, I think there is a lot of pressure to choose a career – and I have made it very clear in previous postings that the person one is at 17 is very different then the person you end up being in ten years, and you may change career goals once you get out into the work force.

I believe that you can make a career in theatre without a college degree . . . or, if you feel college is the right choice, you can probably get a college education on the cheap by mixing up community college and traditional university settings with the goal of graduating with minimal debt. On the flip side, a college theatre program will get you some credits, and often credits you would not get in the real world right away.

Thoughts?  Discussion?

1378
The Green Room / Re: Summer projects
« on: Jun 25, 2010, 12:13 am »
Just plowing away at my show all summer long . . . the reality of an open ended show is beginning to settle in.

1379
A lot of the housing / per diem issues may be dependent on the AEA contract you are on (that is no per diem may be required if your housing meets certain requirements).

I rehearsed a show for an AEA theatre in New York city . . . and it was very challenging without that full support system - but be very clear with your production manager on what will be expected of you.  Try to get a dedicated rehearsal space - if at all possible - otherwise, you may find yourself striking down a rehearsal every day to bare walls - which will eat up a lot of your time.  I would try to do as MUCH pre-production ahead of time - if possible - like submit a prop list ASAP to your prop department and see if they can put together a rehearsal prop supply.  Same things with costumes.  As much as you can bring with you the better.

Also, be very clear with your production manager and your PA about duties . . . you may find in NYC - especially since you are rehearsing away from your home base, they maybe expecting you to fill in the gaps of missing staff.  Be careful you don't go out of your comfort zone.

(As far as doing a show or drinks, let me know . . . my show is running and I am always up for drinks)

1380
And there is also the flip side to all of this . . . how are you perceived when working on the lap top.

If your lap top is open and you are typing on it, does it look like you are paying attention to the rehearsal?  Does it seem like you are engaged?  Sometimes, you can be working on the show, but look like you are not paying attention, which is distracting.

Also, to some directors and actors, the sound of typing drives them up the wall. 

It's easy to feel engaged when working on the lap top, but the actual act of typing can be distracting and you can be viewed as not paying attention.

Sometimes it is about perception.

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