Messages

16

Employment / How To stand Out

« on: Jul 22, 2011, 05:15 am »

I recently found out that someone I worked with before got an interview with a theatre that I have been dying to work with. I have sent them resumes every time I get the chance or find out they are looking. Always updated with fresh cover letters.

Back story on this person, when we worked together we were co-ASMs. This ASM had a habit of being anywhere between 10-25 minutes late on a regular basis. There were a few times that it was closer to an hour, in cludin our first tech day (10 out of 12) and she didn't even call. The production manager had to call her. (This show had A LOT of set up, so we needed an 1.5 hours to get everything done) There was one time that I did all my work and my fellow ASMs work because she was running so late. She liked to to hair/make up in the green room. Constantly primping during the run or lounging on the green room couch instead of helping the actors. (Most of them couldn't stand her the majority of the time, she like to talk about her sexcapades in the work place)  Even would hand me things to do a quick repair because she "didn't like to sew" or what ever her excuse was. I have heard from other people from a different company that hired her that their actors didn't like her and she would not be re hired. She only has a second date with one company that I am aware of.

My question is, how can someone who has made soooo many mistakes in such a small theatre world be getting an interview at one of the top theatres in the city? And what can I do to compete with this? Is there something that I am doing wrong or need to change to get noticed? She only has about a year on me in age, but experience wise, we are about equal plus I have had several second dates with companies. Any advice to make me more competitive or noticeable? OR what do these companies look for in their sm/asm/floor managers/tech crew that I should be providing?

17

Employment / Re: Fired from an SM Job

« on: Jun 08, 2011, 04:29 pm »

I have never been fired from an SM job, but I have worked with an SM who was replaced. It was a strange situation too.

She had just graduated from college and she interned with an Equity house. The house needed an SM for their winter show, and she was gifted her card. I personally think it's a bad idea to gift a card from someone who has never stage managed outside of college. But the company did it. I was brought on as ASM for the show.

Once we got into previews and then into runs, she had made the mistake of missing sound cues on multiple occasions. The company decided they didn't want her to call the cues anymore. Being an Equity house, they had to have an Equity SM,  they didn't want to try and find another Equity SM, so they ended up changing her title to PSM and then bringing on a calling stage manager. Ironically, the calling stage manager was one of the people I had competed with for the ASM position. The whole scenario made the management team a bit uncomfortable. The actors weren't happy with the Equity SM, weren't told she wasn't calling the show anymore until half hour before the new calling SM called her first show, even worse, at the end of the production, our lovely actors brought gifts for the director, playwright, etc. I was the only one from management that was given a gift from them. It was just a bad and uncomfortable situation to be in.

Another situation I was in, I again, wasn't fired, but I wasn't re-hired either, even after a conversation with the PM about it.

I was working as an ASM and I had an ASM intern working with me. She was quite difficult to work with. She was consistently late, to the point that I had to do her pre-set work on top of mine. She would primp backstage during the show instead of taking care of situations that arose during the run. She was horrible at quick changes and made an actor late on stage every time she did the change versus me doing the change. 

I reported this to production management, it was getting out of hand and ridiculous when she started showing up 10 minutes before start of show. My production manager took it as me "tattling" on a member of the staff and said I shouldn't have done it. (This is after I has reported it to my SM and my SM did nothing either) I told her politely that being an intern, she needs to be told this stuff and it wasn't my place to do so, and it needed to come from above, but the above wasn't there to witness performance and I couldn't always do her work.

This conversation led to my contract not being renewed the next season. The ASM intern was hired, on though. Ironically, the PM was fired and replaced. The new PM not knowing the history, realized the intern, now SM had problems and fired her and I was contacted to replace. (I didn't, the company was a mess because of the firing) Then the intern moved onto another company as ASM, and then was replaced in tech week for that show also.

So, even though I wasn't renewed, I'm not upset about it!

18

Employment / Re: lighting design?

« on: May 31, 2011, 06:54 pm »

I have worked as an LD on a few occasions. I actually did my senior project in college as an LD. (I was a tech design major with a stage management emphasis, so it worked) I enjoy working as an LD and programming the board. I find that it is a useful skill to have. What if your board op accidentally hits a button that messes with the whole light design/cue/scene/etc? Having that knowledge will allow you to be able to fix it.

I also work in Chicago, a huge chunk of stage managers here run their own light boards, not just call the show. I have done a few shows where I was hired to stage manage and LD for the same show. I am able to make much better money that way, but there is a plethora of stage managers and lighting designers in the city.

It's really up to you if you want to learn a new skill. I will do anything in theatre if it means that the only job I work. I feel that multiple skills make me a stronger SM. If you are able to make more money, go for it. Maybe they will realize they need a stage manager also. It happens. I was hired to run sound and ended up ASMing a show that desperately needed it and the SM ran the board instead.

These are just my personal experiences, I'm sure some of the more experienced SMs may have different opinions.

19

Tools of the Trade / Re: Laptop help

« on: May 12, 2011, 04:22 am »

For me, deciding on a laptop was more along the lines of "can I run all my programs on it"

I have a mac and a pc, because different theatres use different systems and I need to be compatible either way. I wanted to learn both sets of software because you never know which system you might end up running cues off of.

For me though, I needed to make sure there way enough memory, ram, and a fast enough processor and hard drive to run multiple programs. Other than stage manage, I also do some design work. If I can't run photoshop, audition, word, excel and my e-mail all at one time, then it's not good enough.

Both my pc/mac have back lit keyboards and screens that I can dim which are very useful also. I like being able to lower the lights to not strain my eyes.

When you buy your computer though, make sure you get a great bag to go with it. Like another poster said, I prefer a bigger screen also so I can view multiple pages and larger laptops are heavy. If you have a good bag to go with it, your back will love you more

20

The Green Room / Re: Best one-liner from a performance report

« on: Apr 18, 2011, 02:21 am »

Here are several from a children's theatre production of Peter Pan. The audience is encouraged to interact with the characters, most of these are children responses for the production department's knowledge.

{Actor}l's left Mermaid breast is coming apart.

After Smee's line "A mother.  Gross" a child yelled back "A mother is great."

After Pan's line "I don't need you I don't need anyone" child responded with "you need mermaids."

Today Smee was told to "eat Tiger Lily"

{ASM} burned herself on Tinkerbell - accident report was filled out.

One enthusiastic boy brought many laughs, after the croc first chased Hook offstage and Smee said "That didn't go well" the boy said loudly "That went awesome."  Later he very directly told Pan "Hook came in and poisoned it when you were sleeping

21

The Green Room / Stage managing and relationships

« on: Apr 18, 2011, 01:39 am »

This is an interesting topic that came up in conversation with a AEA SM friend of mine. We were talking about having a relationship with our career choice. She was asking how I made it work.
 
I am married, but it 5 years after we started dating before we got to that point. There was a lot of communication to understand each other careers and time commitments and everything that goes into being with someone who chose theatre as a career.

My husband works a standard work day, I leave before he comes home and he is ready to go to bed by the time I get home. I usually wake up for breakfast with him and then go back to sleep. So, usually we only see each other for about 2 hours in a 24hour period. It gets rough, but those black days with my company are always priceless, or those times in between shows are sacred. On the rare occasion I decide I want to volunteer on a build or something during a weekend, I drag my husband along to work with me to spend time with me.

So, my question is how do you people in relationships manage it? What have you done or not done that has kept things running smoothly?

Or even the opposite, have you ever been with someone that couldn't handle your career choice? Why?

22

Students and Novice Stage Managers / Re: Humor: Stage Managing the World

« on: Apr 18, 2011, 12:58 am »

Stage managing the world for sure!

My sister in law got married back in October. She is the most easy going and unorganized person ever. She didn't have a bridal party, or wedding coordinator or anything. And didn't do the research to do it herself.  She ask me to do her make up, because I had done it for my own wedding and make up classes and such. I just told her we needed a time for me to do a make up run so she could see it.

The time we were supposed to do a make up run, I call her and she is a mess. Her dress has fallen off the hanger and was wrinkled in the dress bag, and she didn't know how to use the steamer, and she was so stressed...etc.

I go to her room, bring her a cup of tea to relax, get my husband to take her future husband out of the room for a while. put the steamer together, steam all of his tux pieces, and take the dress up to my room later that night. I take the dress because I found a few stitches had ripped out when the weight of the dress fell. I didn't want her to see.

So, I spent the next several hours steaming her dress, getting the hotel to bring me a sewing kit, repair her dress, do make up for myself, my mother in law, and her. Then, no one knows how to tie the corset in the dress. Except me because it's one of those stupid things you learn in college that you think you will never use.

We get to the wedding location, she has no idea where the flowers are. I track them down, pin flowers on and give her the bouquet. Then a few of her friends ask "who is your mom down the aisle?" This starts another bridal panic. So, I track down all the family members that are in the wedding, give them "blocking" for who is walking down the aisle and to where. And then proceed to "call" the wedding party entrances with the music and everything from the back of the audience.

Needless to say, I stage managed and problem solved her wedding. And my in-laws who were iffy in the beginning found my career choice to have saved her wedding because no one else would have known what to do.

Other stage managing the world in life:
My dog/cat/fish all have a schedule to eat and go to the bathroom on.
Our wedding program was in the form of a playbill (starring: us, producers: parents, artistc: musicians, readers, priest, co-starring: bridal party) right up our alley anyway.
I make check lists for everything. bills, groceries, laundry, how to clean certain rooms like which part should get done first
I get antsy when the bus/train schedule is off

23

Students and Novice Stage Managers / Re: Labtop vs. Pencil and Script/Notepad

« on: Apr 18, 2011, 12:24 am »

I do all my blocking the good old fashioned way on pen and paper. I block short handed and it is faster for me to block with paper and pen and look up things for actors than to scroll though a digital script.

That being said, I do all my paperwork on my laptop. I have my rehearsal report open for the day to take notes down, I keep my contact list, prop list, quick change list all on my computer. I can transfer all this to my smartphone and run off if it back stage. I can't post anything to the wall of the theatre space I currently work in because it is a rental. We have no board for things to get posted and I cannot leave semi-permanent things backstage because it is a multi-functional space. So, for me, having my paperwork digital and accessible on my phone was the best answer. My script is all my blocking and cues notes though. It is easier for me to talk to actors and directors and reference on the paper what things are happening when. Also, when there is a break and an actor wants to look at my script to check something, they can.

I do use my laptop for other communicating though. On occasion I have been sent the files for the playbill and such and I can open the digital files and have actors read through and check things and make sure it is okay. I prefer my designers contact my over e-mail/text message instead of barging into the rehearsal room and interrupting a scene.

The options have to be weighed on which is a bigger distraction, but since I don't use the laptop constantly and have never been asked to close it, that the way I divide what I use the laptop for and what I do the traditional way works for me and the people I work with.

I have used my laptop to read a script when stage managing a staged reading. I was e-mailed the scripts in PDF form, and given a few hours of rehearsal and then the show was a 1 time thing. In this case, printing out a script for blocking wasn't necessary. I kept the digital copy of the script, made light/sound cues that were used in a small notebook with page #s and lines references. Since it was a staged reading, there was no blocking. I would never do that for a full production though. 

24

Students and Novice Stage Managers / Re: Shadowing: General Q&A

« on: Apr 18, 2011, 12:01 am »

I am a huge fan of leagueofchicagotheatre.org  There is a lot of information on this site, including a large list of Chicago theatres and general contact information. From this list, you can get the website for each theatre and find someone to talk to about a shadowing possibility.

25

Stage Management: Plays & Musicals / Re: COMMUNICATION: Giving notes to young actors

« on: Apr 17, 2011, 11:20 pm »

I have worked with a variety of ages in children.

There are many reasons and solutions to dealing with children in the theatre space.

First, you should know if the children you are working with are there because they want to be or because their parents want them to be. This makes a world of difference in handling the problem.

If they want to be there, it could be a matter of the repetition getting to them. Maybe they just need something more stimulating backstage. Children don't have long attention spans, and a show running around 2 hours is a long time, and going for a long run makes that time even worse. Give them something to do for their age backstage. Coloring, games, puzzles etc.

Depending on the time of day, it could be as simple as they need a snack. They burn a lot of calories a lot fast than adults. Try some fruit or pretzel juice as a nice snack backstage for them.

There could just be a misunderstanding in direction. Speak to them with their parent off to the side and get them to tell you what they are supposed to be doing in detail. If it comes from them, and they understand it, then you know that's isn't the problem. If they can't fully explain it themselves, their is a road block that needs to be cleared.

If the kids don't want to be in the productions, maybe it is as simple as speaking to them and the parents about a replacement. If the child isn't enjoying his/herself they aren't going to want to continue and will do things to try and get out of it.

Maybe a bit of bribery would help, like the prize idea mentioned. More praise could be helpful.

Maybe it is a particular person that they are working with that makes it less fun for them. Try talking to them one on one, telling them there is no consequences, but you want to know why they are acting that way.

You just need to handle working with children delicately. If you don't have a lot of experience working with children in a theatre setting, it might be worth a conversation with the producer to see if it is in the budget to find an ASM who has experience with children that can speak with them separately, based on your notes and work with them backstage to help the frustrations of the adult actors. The one on one attention can be important for their understanding of professional theatre.

26

Stage Management: Plays & Musicals / Re: RUNNING: How do you decide when to cancel a performance?

« on: Apr 17, 2011, 10:55 pm »

As an SM, it's not my responsibility to make the desicion to cancel a show. I currently work with a theatre where I am good friends with the executive director/producer. He makes all decisions regarding show cancellations.

This past winter here in Chicago, we had a lovely blizzard. We cancelled two of our shows that weekend. The first was because of the blizzard itself and lack of accessibility and safety to the theatre because of the snow. The second was because we had a Sunday evening show on Superbowl Sunday and no tickets had been purchased. We did have our Friday and Saturday shows that weekend, and even with the snow storm, we had a house of about 1/3 which wasn't too shabby. Had it not been for the blizzard, we would have sold out all three weekends of our run.

All the actors were willing to come in for the show Thursday after the blizzard, but so many people had called to change their ticket dates, that the producer would have lost money. The actors were pain on a per performance basis.

27

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: cell phones onstage

« on: Apr 17, 2011, 10:41 pm »

Cell phones are an interesting debate. In dealing with my professional actors, there isn't a rule forbidding them to not have their cell phones. I do enforce a rule of a silent cell phone (no ringing, no vibrating). However, them having cell phones back stage I can't control not always being backstage. I have never had a noise problem or a distraction problem. They know that during rehearsal and shows when they are on stage the cell phone is away.

I have also been in a position where I was ASMing a show and I got a text message during the show from my production manager. He and the house manager were locked out of the theatre and needed to be let back in. It was a good thing I had my phone on me. Silent of course, and I just happened to see it light up.

Different scenario, I was on headset back stage and had my SM calling cues via headset, but I also was in full communication with my production stage manager via text message.

I also worked another theatre where I had to text message my stage manager about an injury and a set problem because there wasn't a headset available to communicate by. Only sometimes did that work. If it didn't, I would text the spot operator to tell the SM or if I was free to go to the booth I would do that instead.

I also work in different theatres at the same time and I keep everything on my smartphone. I will turn it off if it messes with the sound, but small theatres in the city tend not to use mics so much, so I have only had to do it twice.

As for actors, some keep them, some turn them in as a valuable. I leave it up to them as long as they are responsible about the cell phone handling. If it doesn't effect their work or make noise, they are fine. If it does, I give a warning which usually fixes the problem.

28

Stage Management: Plays & Musicals / Re: SAFETY: Food allergies in rehearsal

« on: Apr 17, 2011, 10:28 pm »

I always ask about allergies and such, and if there is a problem to be informed of things like epi-pens. I have had a diabetic actor also, and she had low sugar. Honey in my kit is what fixed that because she told me on the first day she was diabetic.

On occasions when I have moderated auditions, some theatres have a section on the audition form for any information regarding a health problem that they should be informed of ahead of time. This is a good thing to have because I have worked a show where several actors had to eat cake. One of the actors couldn't have gluten, so that effects either casting or the type of cake bought (also effecting budget)

It is always worth it to ask those things just to be prepared.

29

Employment / Re: Websites

« on: Apr 15, 2011, 11:48 am »

I have found that a website isn't really useful for being searched or getting a random job.

I do think that the website is great to have to put on a business card. I have had many people ask for my contact information in the form of a business card. They can put it in their wallet and when someone asks for a sm recommendation, they whip it out and call me up.

Having a website with a resume/portfolio is nice to just give an overview of past experience and let those recommendations decide if they want to contact you or not.

I'm in the process of setting mine us, I have found a nice free way to set one up, and you can purchase the domain name if you want it more personalized. http://www.us.stagejobspro.com

30

The Hardline / Re: SM Subcommittee forming

« on: Apr 15, 2011, 04:56 am »

For the upcoming Chicago event, will there be an opportunity for EMCs to come through and talk to the producers and meet people?

As an EMC, I would love that chance to get my name out there and meet people. It seems that I can send resumes cold multiple times, but face time would be more valuable.