Messages

16

The Green Room / Re: Yahoo Upgrade/Excel Gridlines

« on: Mar 20, 2015, 01:09 pm »

I'm sure you've tried this... have you unchecked the "View" box for gridlines in the Excel sheet?  I have an Excel file imbedded in a Word document, and that is the way I keep the grid from appearing there...

17

The Green Room / Re: Nick Offerman to Star in "Confederacy of Dunces"

« on: Mar 12, 2015, 10:16 am »

As I was not a 'Parks and Rec' watcher, I guess I have a lot of TV to catch up on before the first rehearsal... ; )

18

Stage Management: Plays & Musicals / Re: CALLING: Articulation marks in SM calling script

« on: Feb 05, 2015, 08:45 pm »

I use a small caret at the point I start setting up the cue.

19

The Hardline / Re: Recording rehearsals for designers

« on: Sep 28, 2014, 01:05 pm »

It is now allowed in LORT.

From the most recent rule book:
Rule 35: Media: Recording and Broadcast
(E) Recording to Facilitate Production Work and Transfers to Not-for-Profit Theatres.
(1) Capture:
(a) For the purpose of production work and the facilitation of transfers to other not-for-profit Theatres only, there shall be no time limit on the capture of rehearsal or performance.
(b) It is intended that in permitting such capture, it shall be unobtrusive and neither the Actor nor the audience shall be disturbed in any manner.
(c) If possible, all Actors involved must be given notice at least 24 hours prior to the performance or rehearsal that is to be captured. The cast must be informed at the half hour call of the capture of an entire performance or any part thereof.
(d) A Stage Manager must be present at the captured performance and rehearsal.

(2) Use:
(a) The Recording may be used by the director, choreographer, playwright, orchestrator, dance arranger, designers, Stage Manager, Dance Captain, Fight Captain, Stunt Coordinator, and/or the not-for-profit transferee Theatre’s production staff.
(b) After the stated purpose has been accomplished, the Recording must be destroyed.

I think it is too bad that it is being used and designers are not able to be in the rehearsal hall, but such is the nature of freelance designers nowadays.

20

The Hardline / Re: Changing rehearsal hours?

« on: Aug 21, 2014, 10:40 am »

NEAT has a 24 hour notice of change in rehearsal time.

21

Self-Promotion / Re: SIX DANCE LESSONS IN SIX WEEKS

« on: Apr 26, 2014, 11:06 am »

That sounds like so much fun!  Donna's the best.  A great soul!

22

Stage Management: Plays & Musicals / Re: REPORTS: Including break times in report?

« on: Feb 06, 2014, 07:23 pm »

I record them by default as I record what we do during each block of time.  For example:

10:00am - 10:50am   Stage Act I, Sc 1
10:55am - 12:05pm   Stage Act I, Sc 2

I've always done it as I was trained at a theatre that had a separate report for work day hours, tardiness, injuries, etc.  I now just include it in the rehearsal report.

23

The Green Room / Re: "The Sound of Music" Live on NBC

« on: Dec 06, 2013, 06:11 pm »

I guess my question is, why do it as a soap/TV/obviously in a soundstage, when you could just film a live theatrical performance - with theatrical sets & lighting, audience reaction, quick changes & all.  I enjoy watching Great Performances when I can't get to see things in person (yes I know its not live, but still).  I feel everybody would have bought into the convention better.  To be honest, I was working, I didn't see the whole thing, just snip-its, but what I saw, I felt didn't do the show justice.  Also, people were expecting to see the movie, not the stage version of the show - more confusion and disappointment among those who grew up with Julie Andrews and didn't know there was a stage version.

24

Self-Promotion / Re: Boston Area - Rancho Mirage

« on: Oct 14, 2013, 10:14 am »

I'll be there tonight!  Have a happy opening!

25

The Hardline / Re: SPT Previews

« on: Oct 03, 2013, 11:20 pm »

Funny, I would have said the opposite.  As far as I know Equity doesn't distinguish between Preview & Performance.  If the audience is paying, it is a performance.  Equity sets these performance minimums based on Salary/Box Office Gross.  Your theater is only paying your Actors/SM for 5 shows.  If they are charging for a 6th or 7th performance, the actors need to be compensated.

In this situation, it seems like there is one action that puts you into two different OT situations- 1) working more hours than you have (as all previews/performances/rehearsals count towards your total number of hours allowed to work in a week) 2) Adding the additional show.  As you generally can't bill for both OTs, one trumps and that's what the theater is paying for.

Now if you don't charge the audience and call it a dress rehearsal, it is not a performance....

26

Tools of the Trade / Re: Tape-out on Carpet

« on: Jun 27, 2013, 02:58 pm »

Along the sting idea, I've used ribbon.  It lays flat and you can stitch/glue it at the angles you need.

27

The Hardline / Re: REQUIRED # OF STAGE MANGERS--LORT

« on: May 22, 2013, 05:31 pm »

Rule 63B. 

(Sorry for the short answer but running out the door)

28

College and Graduate Studies / Re: What can students do to get into a SM job faster and stay in it longer?

« on: May 03, 2013, 09:04 am »

I agree with Jesse_K and going out and getting internships.  Learn from working professionals.  You are not only learning from those that are making a career out if this, you are also networking.  A lot of this career sustainability is based on your ability to make connections and network.  I would say over 75% of jobs I've ever gotten have been because of who I know.  I am also a true believer of interning at the best theaters possible.  The larger the organization, the more people you are going to meet and work with, the better your résumé. Use your time in college to do everything, but I would focus your internships towards stage management if that is where you think you want to be. If you can figure out how to walk out of college debt free (or with very little debt) all the better.  Starting out in this industry is tough and worrying about student loan debt will not make it easier. 

I also wanted to comment on "to get into a job faster and stay in a job longer". Just a reminder, theater is not like being an accountant. Yes, some people are lucky enough to land seasonal jobs or a long running tour or show, but most of theater is freelancing, especially when you are just starting out.  Your job, even when you have one, is trying to land your next job. 

And finally I would say, don't let the end all be all be New York.  An internship at a large regional theater outside NY is probably better for your career than doing unpaid store front theater in NY. There is a lot of amazing theater, opera, ballet, etc across this country in places where the cost of living is less.  Don't let location limit you when you are starting out.  Once you have a solid résumé you are much more marketable in larger markets

29

Stage Management: Plays & Musicals / Re: SHOWS: RED canvas tips

« on: Apr 15, 2013, 07:25 am »

Now that I'm through the show, final thoughts...

- We used a drop cloth underneath the paint frame.  Saved lots of time in the clean-up. We had two for two show days
- We used colored sand for the Scene 2 paint dye as that paint never ends up being used.
- Everything starts turning pink, especially your rags
- And the obvious: Paint gets everywhere!  It is tracked around the stage.  It is tracked backstage.  And depending on the size of your theater if your actors are not careful, into the house. 
- We basically discovered that each week we needed to "reset" clothing as they would start to look like ax murderers and not painters.  As well as re-splattering the floor to break up the solid red.

Like the sheet idea....
 

30

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Honesty about running a show?

« on: Apr 05, 2013, 08:18 am »

Based on the information given, my blunt answer would be "Nothing more than you already are".  With the director in the room, he or she is going to take care of performance notes.  It's just unfortunate that you don't have a lot of cues to keep you engaged and busy during the show.  Since you mentioned you are relatively new to the profession, I think you could take this opportunity to help train yourself for shows when the director is no longer there.  Are the notes that the actors are getting from the director things that you recognized as well?  What is the difference between the "show maturing" and the "show growing"?  Also, can you and the director be a team?  "I noticed this or that.  Do you like the adjustment?" 

For what its worth, I don't send my actors the Performance Report.  They get individual notes as needed.   However in a situation with the director in the room, my guess is, except for the occasional "You were in the dark" note, your notes don't carry the same weight as they would if he or she wasn't there - hence the feeling that they are not reading the performance reports.

Hope this helps!