Messages

1381

Stage Management: Plays & Musicals / Re: Touring tax question

« on: Jun 20, 2010, 06:41 pm »

I suggest talking to a tax professional . . . as, at the end of the year, you will be responsible for any advice given - better get it from a pro.

1382

The Hardline / Re: LORT: Seasonal Contract

« on: Jun 15, 2010, 07:16 pm »

What I am saying doesn't make sense from any logical standpoint, but is done by at least one theatre I know of.

They have stage managers who roll over from one show to another, and they limited to the 48 per week (even though they are working on two shows), and for some reason they are contracted on two different contracts, so they are pulling in two paychecks (often for just a week or two, but sometimes three . . . ).  It just doesn't make a sense.

But, if you are on two different contracts, you get two different checks - and you should be able to work 48 hours times 2 . . . although, that is a little excessive.


Post Merge: Jun 15, 2010, 07:17 pmOh, and I am enjoying New York . . . for the time being.

Oh, the stories I can tell though.

1383

Students and Novice Stage Managers / Re: Saving Old Scripts

« on: Jun 13, 2010, 02:10 am »

Given that once you start working at a certain level, the script belongs to the producers, I don't have ANY scripts printer out from my past 12 years . . . I have some digital samples of paperwork, but nothing that I have to move around.

1384

The Hardline / Re: LORT: Seasonal Contract

« on: Jun 08, 2010, 04:16 pm »

If you are on two separate contracts, you can be asked to come to rehearsal at 10am, leave at 6:30 and go directly backstage to set up for and run your evening show, which might run until or after 11pm, since you are on two completely separate paychecks. Or work a straight six-hour day, if the company has voted for that rehearsal option, and still do your show without any overtime involved. So while it costs more that overtime might in the long run, it may be easier for the producer to not have to count up overtime hours; also, each show could have different days off without the need to give the stage manager one of those days off. I never had any overlap when I was signed to a per-show contract, so never experienced any of those working conditions, luckily.

What's interesting about this theatre, that although they contract the actor on two different contracts (in this case two different LORT contracts) - they still treat the stage manager as if they were on one contract - that is pay overtime, limit them to 12 hours span of day and 12 hour turn around . . . which doesn't make sense (it basically comes from lazy contracting and lazy production management), but no one really wants to point this out since it favors the stage managers pull in double salary.

1385

Stage Management: Plays & Musicals / Re: REHEARSALS: Giving line notes

« on: Jun 06, 2010, 01:40 pm »

Really good reasons to give line notes whenever an actor messes up a line . . .

1) It starts the stage manager noting an actor relationship.
2) Even if you think it was one time mistake, the actor may be thinking that was the one time they said the line right.
3) If an actor, who previously got the line right, gets it wrong, by giving him the line note might remind him to give you a note . . . "Oh, yeah, I messed up the line because . . . "
a) I was totally in the wrong blocking, can you remind me of my blocking.
b) So-and-so gave me the wrong line, we changed that line.
c) The line is correct, the director said I could change.  (the playwright said I could change it . . . etc).
d) I went up because my prop wasn't where it was supposed to be . . .
e) I missed my cue because I realized I was wearing the wrong shoes.



80% of the time, I guess, a line note is simply about the actor not knowing the line, but if the actor drops a line, there might be a very good reason - and it might not be the actor's issue with the line.

1386

Stage Management: Plays & Musicals / Re: REHEARSALS: Giving line notes

« on: Jun 01, 2010, 11:39 am »

I think it really depends on the type of text and the actor.

I think it's important to let them know every time the mess up a line (when they said the line wrong, they may thought it was right - when they said it right, they may have thought it was wrong.) 

Often, you will quickly learn how the actor learns lines and needs line notes - sometimes an actor will come up to me and say "I am not off book, but I am going to give it a try - don't bother taking line notes for me . . . ", and I honor that request - because sometime the line note is "learn all lines . . . "

1387

Stage Management: Other / Re: Risk Assessment

« on: May 30, 2010, 06:21 pm »

NB: This split off from the discussion in Uploaded forms.  The forms that spawned this thread can be found here.

I have never heard of this before . . . what is this?

1388

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

« on: May 29, 2010, 12:05 am »

I have worked on shows where I thought the director was insane and making terrible choices, and the show was an award-winning hit.  I have worked on shows where I thought it was going  to be nothing but a hit, but ended up being on people's worst list.  You know, no one is psychic in how it will all turn out.  And often, as a stage manager – we see the potential of a show, and is it makes it way through rehearsal and the production process – there are always compromises.  A show is rarely as good (or great) as it could have been in your mind.

But, let us play this out . . .

You are think the director is doing a bad job, you tell the producer, the producer agrees with you . . . then all of sudden you have made a dividing line between the director and you . . . and unless the fire the director, you are going to have a very tense working situation.  And firing a director is rare (although it happens), but once it does – just be prepared for the a very complicated and tense transition.

Other option.

You think the director is doing a bad job, you tell the producer, the producer DOESN'T agree with you, now you have egg on YOUR face, and there is a line between you and the producer, and maybe, if the producer sides with the director, then between you and the director as well.

Actually the best thing in this situation, which I know is VERY counter intuitive, is get really behind the director's choice, and get excited about it.  As questions about it, try to get into the directors mind (you are going to have to maintain it, put understudies in, etc . . . ).  And if you end up talking to the producer, you can present the situation in a fair and balanced light.

Let's say, for example, you are doing Romeo and Juliet, and he has made the bold decision to make Romeo gay.  I don't know why this would be a choice, but worse choices have been made.  Let's say your producer comes and ask you about how rehearsal is going, you can say, well the director has a really interesting take on the show, he is having James play Romeo as gay - I never would have thought of that as choice - and the rehearsals are really interesting - I can't wait until I see how it plays in front of the audience.  What is great about this . . . if the producer thinks it's insane, then it's the producer is the one who is going to go to the director directly  - and unless the director has told you not to speak to the producer, you sort of come off as a champion for the show, a supported for the director, and, if this choice was really of interest to the producer, the producer is going to see you on their side.

I don't mean do this is sort of dumb, sleazy, greasy sort of way - but just remember this, your favorite show should be the show you are working on right now, and you should be it's biggest advocate.

1389

The Green Room / Re: show us your booth!

« on: May 23, 2010, 12:50 pm »

Ruth, I can turn over my left shoulder and see the stage . . . but basically, it's mostly off the monitor.  (I do look on stage for some tight door cues, and if the smoke blurs the onstage image on the monitor.)  It's a whole new experience for me - plus I stand for most of the show.

1390

The Green Room / Re: show us your booth!

« on: May 22, 2010, 07:51 pm »

Here's my calling station backstage right for 39 Steps in NYC

1391

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

« on: May 22, 2010, 01:26 pm »

I counted this once . . . I am up to about 160 rehearsed/teched/performed performance, about 35 Event Type Things.

(But I am old)

1392

The Hardline / Re: Showcase: Filming rehearsals

« on: May 18, 2010, 04:54 pm »

It so depends on the contract . . . but AEA has become very loose in the allowing of video taping under specific conditions for specific uses.  If this is union, contact your business rep.

1393

The Green Room / Re: Finish this sentence: "If all the world's a stage..."

« on: May 17, 2010, 12:45 pm »

. . . "I am glad I am not on the wardrobe crew"

1394

The Hardline / Re: LORT: Seasonal Contract

« on: May 05, 2010, 04:44 pm »

I think there are three ways for a SM "seasonal" contract to be.

One you actually on a seasonal contract, where the shows aren't named or are named, but they just list season, and you Stage Manage whatever they produce.

You can also do a full season by being contracted for the first show, and then have a rider for each following show.  So, if a show is running and you start rehearsal on the next show, you only get paid one week salary.  The flip side to this if there are down weeks, you get paid.

The last way, and I have no idea why theatres would do this, is you are on a separate contract.  This works in the theatre's favor if there are weeks without a rehearsal/performance/pre-production.  But, if there are ANY overlap weeks, you get paid twice. (I know of one theatre that does this a lot . . . seems like a waste of money)

Does that help Heath?

1395

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

« on: Apr 30, 2010, 02:43 am »

In reality, state by state workman's comp forms are specific for that state.  Reporting to the union has nothing to do with workman's comp, that insurance process - but rather just a report of the injury - for tracking purposes - like any other violation of AEA rules.