Messages

16

Employment / Re: Resume question--current show

« on: Sep 01, 2008, 04:32 pm »

For me - if I spent one day of rehearsal on the show it goes on my resume. I was the stage manager for at least a day.

17

Employment / Re: For employers: When do you call references?

« on: Sep 01, 2008, 04:30 pm »

I tend to call references after a first interview.  Calling references is a large time and energy drain, so I want to make sure I feel the person is qualified, I like their personality, and they are available.

Then I would call the reference.

Agreed. Though there have been rare occassions when I have called references before the interview because they had the best resume and I was sure if I liked said person I would be offering them the job asap, but that is extremely rare.

18

Employment / Re: Question about names

« on: Sep 01, 2008, 04:29 pm »

You can always put your official title and then underneath write down your responsibilities (which would stick out to anyone as ASM responsibilities). The issue becomes, if they were to call your employer and ask your title and it doesn't match your resume - your resume goes in the trash. I have done this once or twice when hiring. If I can't trust the person's resume info, I can't trust them to work for me.

And as a side note, lack of proper spelling in your resume also ends it up in the trash (considering a lot of what we do is paperwork) so everyone should watch out for typos.

19

Employment / Re: Leaving a job

« on: Aug 31, 2008, 01:01 am »

I agree. Stage Management will always be here and the contacts you have made (if kept on positive terms) will always be there as well.

I left theatre to pursue a career in the military and eventually in television. I got bogged down in the contract to contract issues as well as money in stage management and just needed a change (that and 9/11 happened). Anyway, I left - found out I missed it way too much (gotta love a job you enjoy getting up for) and with those people I stayed friends with and the reputation I had prior to leaving I was able to find another SM gig pretty quickly.

And since you are looking to stay in theatre anyway - those connections will be there and the transition back into stage management would probably be a lot easier. You could even do it "once and a while" for kicks if in the future you felt you missed it.

Follow your heart and find your passion - no matter what it may be for.

20

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: Aug 30, 2008, 01:08 pm »

Reading all this one wonders how shows were possibly mounted, called and notes given by SMs prior to, say, the mid-70s when it became fashionable to shift SMs to a booth.

Obviously theatre, opera, ballet and like were produced in a artistic and supervisory void previously. Who knew?

 

But you have to admit that a lot has changed since then. The role of Stage Manager (specifically in theatre - though I haven't worked opera or "official" ballet so I can't speak on those) has expanded and with the communication systems now available there is more leeway for the Stage Manager. The SM has added responsibilities.

And on a completely separate note that is irrelevant to this conversation, but relevant to how much theatre has changed from that point - women now out number men in Stage Management when that was not the case 30 years ago.

Technology and the times change - job changes.

21

The Hardline / Re: Being offered my card, good idea?

« on: Aug 05, 2008, 12:54 am »

You still have to work the required amount of time (under an equity contract) to earn the health insurance, but you don't have to have the card.

22

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: Aug 05, 2008, 12:49 am »

I certainly agree with that for a professional environment. In a high school one, however, the director that created the vision is always present and can help the SM with the vision. The actors can barely handle respecting my position, and would not be willing to listen to an ASM. (at my school the actors do not get a grade for their performances, so they are purely volunteers or their parents make them, so they have no "reason" to be well behaved).

Ah...understood. We didn't have SMs in high school so that is all new to me. I began the job in college and we had to treat as professional to prepare for the real world, but I can understand what you are saying.

23

Students and Novice Stage Managers / Re: calling cues? (warning vs standby)

« on: Aug 05, 2008, 12:41 am »

Before I worked with cue lights I generally called warnings if we sat for a decent enough time (depending on the show that could range from 10 minutes to 30 minutes) and I wanted to pass on to the crew that organized chaos was about to ensue again so "wake up." Otherwise I didn't feel a need to call a warning for every cue.

I do, however, call warnings now as the cue light IS the standby so once I call that warning which is the crews cue to watch the cue light then switch that light on then off - that is my go. Can I just tell you how much I love cue lights?!

24

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: Aug 02, 2008, 01:13 pm »

I call from backstage because I'm the only person in my company (high school theatre) that is first aid/CPR certified and fire extinguisher trained. The actors also need someone that they'll listen to backstage for when they get rowdy. I like being able to solve problems myself when needed, and I find it easier to let an ASM call the show while I'm fixing a problem versus the other way around.

If you are tasked with keeping the vision of the show intact - how can you do that if you aren't watching the stage or making sure cues are called in the right place? I would think it would be easier if you make sure your actors are aware of the ASM's position and they take somewhat of the deck manager's role - this is the person of management backstage and you will listen to them. In a professional environment - that is pretty standard.

25

Stage Management: Plays & Musicals / Re: Do you call from house or backstage?

« on: Aug 02, 2008, 01:10 pm »

I have called from backstage for the first 10 mins of the show, but I have a nice flat screen color monitor system where I could see the entire stage so it wasn't a huge issue (I was backstage because we were saving money on 1 tech member so someone needed to bring out the scrim). Anyway - if there were issues backstage I would sometimes stay back there, but I only had to call 5 cues because the show was on a midi track and just went by itself (ah corporate theatre).

The theatre I currently work for was discussing moving the SM backstage, but I pointed out that with all of the monitors we would need the SM would take up valuable space for set pieces, still couldn't get a clear view of everything even with monitors and would have a really hard time during safety sensitive change overs (as well as maintaining the vision for the show is harder because no matter how good your monitors are things are going to get missed as details are harder to make out). Also, SMs can get caught up in the drama backstage which becomes distracting when trying to call cues. It was also pointed out that the SM couldn't double as a tech for the show because they would have to stare at monitors and we would then have to hire a lightboard op (as the SM is the light op) so it really doesn't save money to move the SM backstage and it cuts down much needed space so - that thought was finally put out of everyone's mind. Thankfully.

26

Stage Management: Plays & Musicals / Re: Your Prompt Book - Left or Right?

« on: Aug 02, 2008, 12:55 pm »

I have done books in various ways:

1. Script center of page, blocking on left and cues on right (and visa versa).
2. Separate blocking script with diagrams, colored pencils, and lots of writings.
3. Curent method - a. script is on the right, blank numbered blocking section on the left (with blank boxes to specifiy if I need a visual). I find I can write pretty quickly if I can just throw the number by the dialogue and then draw my little picture (and write in crosses later). b. Separate electronic cue script - easier to read, easier to modify later and much easier to clean. Also, if you were to be hit by a bus - easier for an outsider to understand.

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Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Aug 02, 2008, 12:36 pm »

What I wear depends heavily on what I'm doing a certain day. For example, if it's a rehearsal and I'm likely to be running around a lot, I wear clothes that can take the wear and tear like most people have said, but if I'm running auditions, I like to look a little nicer because I know I won't be crawling around the floor with spike tape or running all around the theatre. Plus, the actors are seeing me for the first time, so it gives them a better first impression than jeans and a t-shirt would.

I completely agree that it depends on the situation, but I will tell you that it also depends on the theatre. I work in regional and I have never had anyone have an issue with my wearing my baseball cap and holy jeans. I try not to wear holy jeans too often however, but I have them (which got that way because of taping out/painting floors).

I really think it depends on the theatre and you can take your cue from those you work with. Show up in casual and if you see you need to dress better or can dress down for certain things than feel free to do it.

**And by the way, the bigger regional theatre around here - their PMs generally wear holy jeans, black rock group shirts and leather studded bracelets and they (PM and APM) are considered 2 of the best in the area. Sometimes it is a matter of doing your job well that can determine what you can and can't wear.***

28

The Hardline / Re: Being offered my card, good idea?

« on: Aug 01, 2008, 02:14 pm »

Actually, in a right to work state you are never required to take your card if you are offered an Equity contract. If you so choose to work 3 or 4 contracts ONLY in a right to work state you can without taking it and if you work 4 shows under an AEA contract regardless of being a member (as they are still taking their cut from your check) they have to offer you health insurance.

Good things to keep in mind if you will be living for a while in a right to work state.

29

The Hardline / Re: Who Locks Your Doors?

« on: May 02, 2008, 09:38 pm »

The running SM is responsible for looking the stage door exit. Other doors are secured depending on department the door is closest to and the alarm is generally set by the closing kitchen staff though if I stay past them I will put in the code.

30

The Hardline / Re: Production Meetings

« on: May 02, 2008, 09:36 pm »

I work at a year 'round theatre so we have a production meeting every week that will span at least 2 shows (the one currently running, the one going into rehearsal and perhaps even the one after that depending on timing).

During tech week we have a prod meeting every night to lay out all issues that need to be addressed out on the table. These meetings tend to be long, but actually somewhat productive.

So here is my question, how do you keep a prod meeting running (the weekly ones)? I have found that here they have gotten used to making each prod meeting a time to have all the other little side meetings they should have already had or should have scheduled after or even could do over email. What is the cut off for these types of discussions? How do you keep a prod meeting running smoothly, keeping it productive, but not becoming a "hash out" meeting that could take place for 2 people?

Any advice would be helpful as my PSM has just resigned and I will be taking the reigns (and the current format is driving me nuts)...