Messages

16

The Hardline / Re: Tech Week Bumps II

« on: Jun 08, 2007, 12:17 am »

Generally Equity is pretty good about working with university pay systems that pay their regular employees every other week.  In other situations, I'm not sure how flexible they would be on changing what week you get paid the bump but you can always ask your AEA business rep the question.

As for the tax implications, it might actually be an advantage to get the bump prorated over a number of weeks as it could prevent you from moving up into a higher income tax rate for that pay period.

There's no reason that you can't negotiate to get more than the standard amount for the tech week bump (except perhaps the basically poor economic condition of many regional theatres).  It might be an advantage to them to find a way to give you something extra that really doesn't cost them a lot (in the big picture) since it only applies to a small number of people on an individual production (and for only one week as well).  However, don't be disappointed if the theatre says no.

17

Employment / Re: Finding Jobs

« on: Jun 07, 2007, 11:58 pm »

You may have to go outside of your town to find an apprenticeship.  Keep your eyes posted on the boards here and you might also try to get your hands on a publication called ARTSEARCH which put out by the Theatre Communications Group (known as TCG) that lists all kinds of jobs and apprentice positions.  Check their website (www.tcg.org) under publications.  You'll have to subscribe but they offer a number of subscription plans.  Don't forget to use the resources at your university - they might well already subscribe to ARTSEARCH...

18

The Hardline / Re: 2007 AEA Council Election

« on: May 12, 2007, 03:55 am »

I would heartily agree - - please vote!  Remember that Equity is not a faceless corporation - it is us.  We are the union, the the council and the staff works for the benefit of the members - that is all of us.  No matter if you're happy or unhappy with the decisions the union makes take the time to let your voice be heard.  Find candidates that think the way you do and support them.  Believe me when I say that you can make a difference in the way Equity works and the first step is in voting.  If you do vote and your candidates lose, then get on a committee, you'll be surprised how easy it is - it won't take too much of your time and you can make sure that the things that are important to you get discussed.

Malcolm Ewen
Central Region Stage Manager Councillor
(I'm not on the ballot this year either)

19

Stage Management: Plays & Musicals / Re: Who Runs the Tech?

« on: May 12, 2007, 03:45 am »

I would agree with Matthew that the typical arrangement would be for the SM to work with the creative team (putting cues into the prompt script, calling them, etc.) while the ASM runs the deck.  However, I would have to say that I wouldn't characterize the process as "mine."  I consider tech to be a part of the rehearsal process and what I try to do in the rehearsal process is to organize/run the rehearsal in a way that allows the creative team to create the production the way it has been envisioned by them.  This means that I will vary the way the tech process goes forward after consulting with the director and the designers.  I want them to do their best work and am willing to work the way we all decide is best for that production.  It may mean putting some cues in my script before the actors are called to the stage or it may not.  The director may need time to restage things if there set has levels that weren't built in the rehearsal hall.

At Steppenwolf, with very rare exceptions, we work through the show form the top without doing a cue to cue first.  This makes the process much slower but allows everyone (including the cast) the chance to work through any and all problems.  If you have some scenes without internal cues, it often doesn't take too long to run them but it can take a while to figure out where everyone will be if you skip chunks of the show.  I should say that we have a lot of tech time with the actors (41 hours before we have an invited dress and another 5 hours the day after the dress before our first preview - and we have 9 days of previews/rehearsals).  With less time, using cue to cues can be efficient but requires real planning on the SM's part.  Also for us, the first day of tech is usually the first day on the set - we move over from the rehearsal hall at the end of the day before.  Unless something has gone wrong, at our first tech the set is fully loaded in, the lights are focused, the speakers placed, the sound system checked, the costumes preset (and in the the dressing rooms) and often some of the designers have set basic cues on their own.  But then we just bear down and work our way through. . .

20

Tools of the Trade / Re: Google Groups?

« on: Apr 10, 2007, 12:08 am »

If it is of any interest to you, Steppenwolf used a Google Group for the creative/design team for our production of The Diary of Anne Frank and it seemed to work well.

21

The Hardline / Re: The Equity Hour at first Rehearsal

« on: Apr 10, 2007, 12:02 am »

Generally the Equity rep will come to a first rehearsal if you are in (or near) an office city (NYC, LA, Chicago, San Francisco or Orlando).  You should contact them as soon as you start pre-production to make sure they are available.  Ask them to bring or send you the Deputy and Stage Manager kits when you have them on the phone.  You can sometimes schedule the meeting on the second day of rehearsal if the rep can't make it (they're already going to another first rehearsal, etc.).  If the rep is there you should run the deputy election and take whatever votes are required under the contract (varies from contract to contract but often these include reducing the meal break, whether to allow the 6 hour rehearsal block, etc. - you must read the contract carefully as these gems are often buried inside separate rules).  I often make up ballots with check boxes on them during pre-pro covering all the questions and distribute them to the Equity members with the other paperwork (calendars, contact sheets, etc.).  Then sit back and listen to the rep...

If you're not in an office city you should still call your rep to inform them of the first rehearsal and to ask for the kits.  Take the opportunity to ask AEA if there's anything else that should be discussed (maybe they could call in to a speaker phone during your Equity meeting to answer all the questions about the health plan or whatever - I've never heard of this happening but it seems like it would be easy to arrange).  You should run the meeting if there's no rep present taking all the same votes as above.

Did someone say something about virgins??

22

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

« on: Mar 18, 2007, 02:02 am »

I've worked with a lot of students and graduates of NCSA (probably 50 people or so) and most have been great.  They seem to have an excellent production and design department (which does offer a concentration in stage management by the way).  All the people I have worked with were at NCSA in the undergrad or the graduate program.  I don't know anything about the high school program that KC_SM_0807 mentioned.  I have heard folks talk about the workload but I've never heard people complain about the treatment they get in a negative way.  I'm not doubting what KC_SM_0807 says, just that I have heard a different story.  If you are interested you should check it out. . .

23

The Hardline / Re: Scheduling Actor Haircuts

« on: Feb 10, 2007, 06:42 pm »

I think that haircuts can be considered as costume fittings under the COST contract rule.  Jessie_K's suggestion is also a good one - I have tried to get the theatre to bring the hair or wig person to the theatre during tech when the cast tends to wait around as we tech scenes they're not in.  This also gets the haircuts done near to the first preview so everybody's looking good when the public sees them.

24

Stage Management: Plays & Musicals / Re: How do you call your sound cues....

« on: Feb 09, 2007, 01:51 am »

I agree with MatthewShiner - I just call the numbers that the sound designers give me in exactly the way he describes.  I do try to jot down a note by each cue so I know what it is supposed to do (just like I will try to note the running time of a light cue).  I don't think that I have called a show with lettered sound cues in a number of years.

25

The Hardline / Re: Another Fitting Question

« on: Feb 05, 2007, 12:08 am »

Under most Equity contracts you are able to call the actors for anything you want during rehearsal hours (including fittings), all you need to do is not exceed the maximum span of day for that actor, not exceed the maximum hours of work in an individual day and give them proper advance notice of the call.  The actors are being paid to be available for rehearsal six days a week (under most contracts), so do what you need to do.  You can't call them on their day off without an additional payment (this excludes things like the costume call prior to the start of the rehearsal period that is sometimes allowed).  And yes, a work day with no rehearsal call is not a day off.   I once had the artistic director of a major regional theatre tell me that he wanted all the actors called and at the theatre for every hour of scheduled rehearsal in case he changed his mind about what he wanted to rehearse!  We didn't actually do this but we could have under the rules (there would have been a cast riot if we had tried...).  Having said this, I do try not to make people come to the theatre just for a short fitting and no work at rehearsal, but sometimes you have no choice (an out-of-town designer or whatever).  And Matthew Shiner is absolutely right about the vote for a one hour meal break being an option at the theatre's discretion (although you might not be able to do a two hour meal break under some contracts).

26

Stage Management: Plays & Musicals / Re: First and Last Names

« on: Jan 25, 2007, 01:00 am »

On the daily call sheet I use the first name only (10am Act I sc.2 with Tom, Mary, etc.).  On the sign in sheet and dressing room door labels I use first then last name.  On rehearsal and performance notes I use first names only.

27

Stage Management: Plays & Musicals / Re: Response to "calling a show by feel" from "things you would never hear..."

« on: Jan 22, 2007, 12:28 am »

For me, when I'm trying to find the exact placement of a cue I often ask the designer what the cue is for - you know "the cue is for when character X turns back into the room" or "it's with the button of the music" or whatever.  Many designers I work with will let me "find" the cue.  It is important to know the time of the cue and how far into the count that you actually see/hear something. The trick with this is not to be defensive you make a mistake or when you are just wrong.  Take the note from the designer or director in a constructive manner - admit that you were early or late.  This helps to establish a positive working relationship and will tell them that you are paying attention to their artistry.  I find it easier to repeat a cue correctly if I understand what it is for.

28

The Hardline / Re: Straight 6, 5 and 4

« on: Jan 17, 2007, 01:57 am »

Just remember that in a straight six hour rehearsal there can't be any calls outside of the rehearsal hours.  This means if you need to schedule costume fittings or press events or anything else, they need to happen within the six hour block.  Casts and directors tend to love the six hour block. although I find that it makes for a very long day for the stage managers.  Still, I often vote to allow its' use because it does shorten the overall length of the day.  Speaking of voting, remember that the vote has to be a secret ballot.

29

The Hardline / Re: more-than-minimum vs. tech bump

« on: Jan 17, 2007, 01:44 am »

In answer to hbelden's question, "contractual salary" is whatever amount you have agreed to work for through negotiation (your gross weekly pay before deductions) and "minmum salary" is the amount listed in the Equity rulebook.  The exact rules may/will vary between types of contract (LORT/HAT/midsized/stock/etc.).  In specific, if the contract you are working under calls for a tech week bump you'll get it even if you are working for an amount over the minimum salary.  How much that bump will be (a fraction/percentage of either contractual or minimum salary) is up to the specific wording in the rulebook.  VSM is absolutely right in encouraging you to check with your Equity Business Rep for the correct information.

30

Employment / Re: Serving on a Board of Directors and Stage Managing for the Same Company?

« on: Jan 10, 2007, 01:53 am »

Yes, any donation that ljh007 made to the theatre company would be tax deductable (assuming the theatre has not-for-profit status with the US government - the section most commonly associated with theatres is the 501(c)3 section of the US tax code).  It shouldn't matter if he/she is an employee or how much they donate.