Messages

16

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

« on: Apr 29, 2010, 11:18 pm »

I was actually hoping this topic would address an issue I recently encountered, which is more specifically related to using the AEA Accident Report vs. the Workers Comp form.

When I first joined Equity, an Accident Report was included in my kit, and I was able to make copies to have this form on hand.  Last fall, when a cast member was injured, I realized I didn't have any of these forms in my kit and went online to download it.  That's when I realized that this form has changed and no longer applies to me, or my casts, and that I was out of luck with reporting injuries to the Union.  The reason for this is that for some reason the new form very specifically states "Broadway, Off-Broadway, and LORT only,"  and is now simply a list of injuries to be filed weekly.  So, in order to file this one injury for my actor, I went online and downloaded my state's Worker's Comp form and made a bunch of copies of that instead, because how else was I to make a record of this (or any other) injury?

Why is it that only NYC and LORT Equity Companies have access to an Accident Report now?  Why are the rest of Equity's contracts no longer allowed to file Accident Reports with the Union?   It seems strange to me that Equity would suddenly no longer want to know about the status of injuries in Companies under AEA's numerous other Agreements and Codes.  I found this especially strange because the "Injury/Illness Report Cover Letter" (also downloadable) doesn't mention the restrictive nature of the reports, and seems concerned with the recent uptick in injuries - which is not exclusive to Production, Off-Broadway, and LORT Contracts, by the way.

This incident also led me to realize how naive I might have been to rely on Equity's form all these years anyway, as my state's Injury Report was much more specific, and would probably lead to faster reconciliation of Worker's Comp issues.  After all, this is a form that more employers are familiar with, and the information required for it would be missing from the form Equity provides.

While I find it a bit of an affront that Equity seems no longer interested in smaller contracts and their Companies' rate of injury, and though I can just fill out a regular Worker's Comp form instead, I would like to be able to report injuries to Equity like I always have.  I think Equity should know about the rate of injury with some of the smaller contracts, as I know that it can affect contract negotiations.

Anyone have any idea what launched this change, and why us little folks are now left out of the system?

17

The Hardline / Re: Do Members Need Equity's Permission to do College Shows?

« on: Apr 29, 2010, 10:37 pm »

I agree with Stancial on this one.  While it may be an easy call for Equity to grant permission to SM a college show and grant a waiver, not asking for a waiver is not a smart move, as it goes against the most basic agreement we make with the Union.  I doubt very much that Equity would not allow work in a University environment while in pursuit of a degree - it is a Union made up of actors, after all - but not asking because you assume it's okay is not the way our Union works.  If you expect that your production won't provide an Equity contract (and for the record, U/RTA *is* an Equity contract, and therefore should never require a waiver for an Equity member), you should expect that a waiver is needed to work on said production, and ask Equity for one.

18

Stage Management: Plays & Musicals / Re: ASPIRATIONS: ASM for AEA vs. SM for NON-AEA

« on: Apr 23, 2010, 10:43 am »

I agree with the "make sure you're ready for your card" sentiment, but I'd also say, do not work at the Non-Equity theater.  They have a reputation in Chicago for abusing their cast and crew (SM's especially), and NEVER paying. 

It was one of the first places I applied to in Chicago, and I quickly learned of its incredibly awful reputation.  I don't like the idea of blacklisting, but out of the hundreds of theatres in Chicago, this is the only one that has trailed with it countless (and unanimous) horror stories.  I haven't met a single person who worked at the Non-Equity Theater who didn't wish they were warned beforehand and able to avoid it.

MODERATOR'S NOTE:  theater name has been removed from this post.-Rebbe

19

College and Graduate Studies / Re: SUNY Purchase vs. Emerson: Outside Perspectives?

« on: Apr 01, 2010, 07:27 pm »

I am a graduate of the Emerson BFA program, but the department has changed so much since I went there 10 years ago (the faculty and facilities are almost all different: the head of the department was the man who had created the degree, and the performing arts center was just being designed then), so I think it would be safe to try and give some advice.

The number one thing I would say is this: what you get out of the school and where you feel most comfortable is the most important thing.  Once you've gotten experience and a body of work, it matters less and less where you went to school.  I live in Chicago now, where the name of my alma mater means very little, but I still cherish my education and everything I learned living in Boston.  And I say "living in Boston" rather than "going to Emerson" for a reason.  For me personally, Emerson was only part of the equation when it came to my stage management career.  I wanted to get a lot out of my school, and so I worked a lot while I was there - as a professional stage manager.  I put myself out there and took advantage of the community, and Emerson's name helped me do that in my city.

I know almost nothing about SUNY Purchase or their program, but if they have a thriving theatre community outside of the university like Boston does, there's no reason you can't learn by working professionally as a stage manager while earning a degree.  You can take what you learn in school and use it wherever you like - it matters most that you're learning and eager to keep learning everything you can.  If I could take classes and do shows at Emerson while subbing for an Off-Broadway show for two years and earning weeks toward my eventual AEA pension, there's no reason someone with the same drive can't do the same, wherever they are.

Now specifically about coming out of Emerson and working in the industry?  I personally have never stopped working professionally since graduating from Emerson, nor did I ever hear anything negative about Emerson grads when I was being considered for work or hiring SMs.  I turned down my AEA card while I was in school, but got it less than a year after getting my degree, and the bit of design work I was encouraged to do while there has gotten me into the costuming world in Chicago in recent years, for the few months I have between gigs.  I run into Emerson grads a lot out here, though they're mostly actors - a lot of my class has either stopped stage managing or stayed in New England - and we were the first Stage Management BFA's Emerson granted, so there weren't too many of us to begin with.  I felt very prepared for the "real world" when I had finished school - I had worked in dusty blackboxes and 1000-seat opera houses, and had done technical drawings for touring sets, and had acted in and directed a few one acts.

I can tell you more details about the quality of my education at Emerson - how I learned enough Equity rules to work with seasoned Equity actors in my very first professional job (all Emerson rehearsals are run under "Emerson Equity" mock rules), how my BFA required so much study outside of stage management that I felt like I could really understand what any department was really going through, or how it felt to call an enormous musical with fly cues, special effects, projection cues, and massive scene changes from the awesome second balcony of the 1000-seat Emerson Majestic Theatre (now Cutler Majestic) as my swan song before I graduated.  All of those things were my personal experience, but are indicative of the atmosphere of the school and what I was able to get out of it.  It gave me the confidence to get jobs on my own merits - my professional resume spoke for itself after college, even if I'd left Emerson off of it, because Emerson let me build my career before I even got the degree. Your college should let you grow as much as it teaches you, and your own drive will ensure that that happens.

The last thing I will say is this: I struggled with the financial issue you've discussed as well, and almost chose my second choice school instead, simply because it was less expensive (read: free).  But in the end I went with Emerson because it felt right, and I knew that the isolated community of my second-choice school wouldn't give me the opportunities I could get in a city like Boston with a vibrant theatre community.  My student loan debt is almost completely paid off already, and I've never once regretted sending in that bill, because I know I made the right choice for my future and my career.

Good luck in making your decision.

- Julia

20

The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: Sep 13, 2009, 12:04 pm »

Another one bites the dust:

Apple Tree Theatre, my home as Resident SM for the last 4 seasons, has closed permanently, as of Friday afternoon.  I was notified by voicemail.
I was finishing up my pre-pro week for the first show of the season, and am now out of work for the season.  This theatre had been around as long as Steppenwolf, and had been struggling for a long, long time.  Sad to see it end.

http://leisureblogs.chicagotribune.com/the_theater_loop/2009/09/apple-tree-theatre-falls.html

After 26 years of productions on Chicago's North Shore and 40 years of educational programs, Apple Tree Theatre's board of directors plans to release a note Monday saying the Highland Park theater is going out of business, effective immediately.

In the note, Apple Tree says its doors will close, with the entire 2009-10 season canceled.

"This decision has not been made without a great deal of soul searching," the note says, "and only after exhaustive efforts to explore every possible avenue of financial support that would enable us to keep the doors open and the wonderful services and traditions alive."

The note says further that the theater has laid off all its staff (there were six full-time positions, along with numerous instructors and actors who had expected to work with the theater). Students of the theater are told they will either receive refunds for their tuition or be offered alternate options.

"It's the right business decision to make," said executive director Mark Weston on Saturday. "But it's very emotional for many of us."

Weston said that he was working with other area theaters to honor Apple Tree subscription tickets. "I want to do right by our core believers," he said. However, subscribers won't be able to get their money back.

Apple Tree was founded as the Eileen Boevers Performing Arts Workshop in 1970.
Eileen Boevers mug In 1983, the late Boevers (left, in 2005) expanded operations to include a professional theater company, which she dubbed the Apple Tree Theatre (she lived on Apple Tree Lane). The company started off in the same Highland Park church basement that launched the Steppenwolf Theatre Company, though most North Shore theater-goers will remember the theater as being housed on the second floor of a strip mall in downtown Highland Park.

The Equity-affiliated theater was especially known for its contemporary plays and small-but-bold musicals, many of which Boevers directed herself.

Boevers died last January at the age of 68.

After losing its longtime space, Apple Tree, once an illustrious North Shore theater, has languished in inadequate quarters in the Karger Center in Highland Park, its budget and audience dwindling.

21

The Hardline / Re: AEA Health Weeks

« on: Sep 13, 2009, 11:46 am »

I recently saw this issue affect actors very directly.

I worked with a theatre company for the first time who had their own code that did not require health contributions of any kind, because the requirements for rehearsal and performance were so very minimal, as was the pay.  The idea of this isn't unreasonable for most actors - they use this type of contract to fill the void between shows and still get to perform for a little bit of cash, for simple work (staged readings entirely).

The problem came because this code has been around for about 10 years now, so several actors have begun to work exclusively under this code, with this company.  That means that they incur no health weeks despite working about 20 weeks a year, and one of those actors was struck down with a heart attack and has had bypass surgery.  He is now struggling with health insurance costs because - despite being an AEA member in good standing, and technically working enough weeks a year - he is completely without health insurance, and will probably never recover financially as a result.

This is exactly what happens when a producer is allowed to make these concessions with Equity.  Though it's not unreasonable on its face, this code has allowed this theatre to create financial ruin for one of its own.

22

Employment / Re: Team player vs. "undermining" SM - discussion...?

« on: Oct 07, 2007, 12:18 pm »

this is a very interesting topic, but so far a very abstract one.  i was hoping to hear more gory examples of the "team player" vs. "undermining" conflict.

when i first read this post, a very specific conflict occurred to me. this is when someone comes to the SM with a problem, telling the SM to be a "team player" to solve the issue, but by doing so is in effect "undermining" them.

some examples -

SMing a show with teenage youth who are unfamiliar with theatre, who are being paid, but who refuse to treat the show as a job and show up on time, call the SM, or behave themselves during rehearsal.  the SM cannot run rehearsals properly because of this lack of discipline, but when SM attempts to solve the problem (calls the kids on their tardiness, instructs them to call the SM, and generally asks the kids to be quiet during rehearsals), the management informs the SM that it is their job to "babysit" the kids, and that SM should stop being "so hard on them," and "be a team player." 

SM of a new play, which is not going so well. The director clearly hates the play and is uninspired, and the playwright isn't helping. SM is repeatedly told that director is not interested in SM input and that SM is just timekeeper.  SM keeps her mouth shut and keeps time. All are worried going into tech, because more tech has been thrown at the play to solve its artistic issues.  PM asserts that the director's worries all stem from a poor stage management team, because SM not "team player," and therefore likely unable to run tech properly.

in both of these instances the SM is undermined by the team, but put in a position that is difficult to resolve, because it is criticism given in a "you're not being a team player" attitude.  being singled out in this way, with your only defense being "i'm being singled out!" doesn't really get you anywhere.  so the team isn't strengthened at all, because one member is even more unable to become "part of the team" with the understanding that the team is not on their side.  This is that unpleasant, problematic area that arises with the "team player" mentality - if you end up undermining someone who you want to be a part of your team, that person's never going to actually want to be part of your "team."

23

Employment / Re: Freelancers

« on: Jul 25, 2007, 07:49 pm »

The most important thing to remember is to keep track of everything.  Because our business is considered by many to be a "hobby," there are enough gray areas that we need to watch our backs constantly.  Though it is a viable business, the IRS will be looking for loopholes.  So keep track of your records like you work for the IRS yourself - it will make you much more aware and safe in the long run.  If you make a mistake that the IRS will want to see - make sure you can defend it!

24

The Hardline / Re: Equity "half-hour"

« on: Jul 25, 2007, 07:14 pm »

I for one hereby vote that we include that fantastic document in SM/Deputy kits from here on out.  I know we just revamped those kits, but I'm putting it to the floor at our next SM committee meeting.   I know it's far more likely to be read than that "Duties of the Actor" one.

Thanks for sharing it!

25

Students and Novice Stage Managers / stage management TEAM

« on: Mar 10, 2006, 04:07 pm »

this is one of those areas where i feel the notion of "teamwork" is very important.  my negative experiences (of being in your situation and being in the reverse, where i did all of my ASM's work as well as mine) have taught me the importance of valuing the differences and the strengths of both the SM and ASM positions.  the very first conversation i have with my ASM's now is that we work together as a team.  this is crucial to me - as i know that every SM has different values and strengths, and ignoring those is not beneficial to making the show run smoothly.  this makes it clear to them that i value what they have to say, and as i don't know their level of skill, i will not presume that my knowledge is better than theirs, and also that they are accountable and responsible for just as much as i am, even if they're not doing the same job.  i make it clear that the show is counting on both of us to do our jobs and do them well, and to do those jobs as a team.  now, most of the time i am more experienced than my assistants, so i try and acknowledge that too - i ask them to make me accountable as well, and check in with me if there is an area that they would like more experience or more responsibility (props, scheduling, etc.), or if something i am doing isn't helping the "teamwork" atmosphere i am trying to set.

your situation isn't the same, but the "teamwork" idea may be something you can use to improve the situation.  from what you've said, you already have, in a sense, by doing the work that needs to happen.  try approaching your SM in that way, by explaining that as part of the stage management team, you're available to help where needed, and since you were in his position before, you hope that the two of you can work together to make the show the best it can be.  mention to him that you have tried to help the team already, by being available when he was not, but that you're looking for his help as well.  You know what you expect, and there is absolutely nothing wrong with letting him know that you have expectations of him as your superior.  If he can't handle the criticism, he's not cut out for the job, but the way you handle is what's going to make the difference.  Telling him what you expect makes it clear that you're noticing his slacking, and if that's not enough to make him come around, then he's just not going to come around.  But hold your own - if the director's convinced he's going to come around, you have to let him do it, not do it for him.

Good luck!

26

Stage Management: Plays & Musicals / duct tape

« on: Mar 10, 2006, 02:14 pm »

Another useful note - in regard to the duct tape (or whatever kind of tape is used for the binding of his mouth), make sure very little of the tape is actually sticky.  Create a tab where the actor's mouth will be, so that it is more like a bandaid - and therefore comes off just as easily (and is more comfortable for the actor).  Hope that helps!

27

Stage Management: Plays & Musicals / ageism

« on: Mar 04, 2006, 02:00 pm »

I can't say that I've had much experience with sexism, as - like mc - most of the stage managers I've met are women like myself, and therefore most of the producers and directors I've worked with are used to female stage managers.

But ageism, on the other hand... That's something I have grown so used to that I assume it's going to happen, so I take pains to ensure that my age is not a subject up for discussion.  My year of graduation from college is not on my resume, as it's too easy for an employer to do the math and dismiss you based solely on that.  And my age is not something I talk about, unless I am specifically asked, and only then after a show is well underway and my authority is not in question.  I do NOT discuss my age in an interview, as I feel that such a thing is incredibly inappropriate, and in fact is outright ageism - as inappropraite as sexual harrassment and sexism.  If I am asked that question (or the year that I graduated from college), I am likely to develop serious doubts about my potential employer - my experience, not my age, is what should qualify me for the job, and I take that very seriously.

Now that I'm a little bit older, and college is more than 4 years behind me, I find that it is less likely assumed that I am too young regardless of my experience, and more attention is paid to the credits on my resume.  Of course, early on in my career I learned to be careful of this the hard way, so I think it is necessary to guard yourself from this very easy discrimination when you're a young stage manager.

The fact is this - few stage managers continue working well into their 50's (or later), and those who do are not likely to still be doing small theatre.  So actors, directors, and producers simply must get used to the fact that stage managers will just as likely be younger than them than older, and that regardless of their age - their experience got them hired, and their experience is what demands respect.[/i]

28

The Hardline / An Unemployment Story

« on: Apr 20, 2005, 06:49 pm »

In part as a response to this thread, I recently went to my unemployment office when my part-time day job began to wane and I found myself still in between gigs after a few months.  This is something I should have done long, long ago, but I just finally got around to it.

I ran into one small snag, and thought it might be useful to post it here with the other pieces of advice.  I also have learned a bit already, and have a bit of advice of my own that I wish had been given to me.

I am of course going off of my current state's rules (Illinois), and this may not be the same everywhere - but i think it is important to ask.

First of all, you may be able to collect partially even though you're working part-time.  I had avoided unemployment b/c i had a part-time day job outside of my theatre jobs, and though that exempted me from receiving benefits.  However, because unemployment is based on your past work history, if you are used to working 2-3 jobs and one ends (your show closes), unemployment may still be able to supplement your income when you are not working as much as you are used to.  To put it in simpler terms: if you usually make $100/week at office job part-time AND $200/week at theatre gig full-time; and suddenly that full-time $200/week gig is gone, that's loss of work that unemployment might be able to compensate. As long as office job doesn't give you a raise and bring you up to full-time status, you may still be eligible to collect as part-time b/c you are working below your means.  Most jobs would be happy to give you more hours and more work, but since that wasn't the case with me (there just wasn't enough work to go around), I am able to collect unemploymant as long as I remain part-time and continue to make less than I am used to.

Although this is pretty great, it's also where I ran into a little snag called "independent contractor."  There is a big difference between "independent contractor" and "employee," so if you do any 1099 (fee) work, make sure you specify that in your claim.  Your claim should be based on the last job you held as an "employee" only - this is when there are many federal and state forms to fill out and taxes are taken out of your paycheck.  If you do both kinds of work, like I do, make sure the office is very clear on the distinction.  I found out the importance of this distiction the hard way, and nearly got my part-time job into trouble...

Ultimately, what I discovered in going through this process, is that I should have done it long ago.  Once you have filed for unemployment once, it is easy to re-apply (in the same state at least).  If I had started when my first AEA gig ended and I was between gigs with no work, the transition would have been much smoother, and I could have been collecting on and off for quite some time now.  If you think you might be eligible, apply and see.  Once you learn how it's done in your area, you can re-apply when you need to.  Unemployment (for us, at least) is inevitable, after all.

29

SMNetwork Archives / Coping with the unemployment duldrums...

« on: Mar 09, 2005, 05:09 pm »

I agree with Matthew...

I love smnetwork.

These posts make me happy, and make me remember that, yes, there will be work again... And in the meantime, I can listen to all of you talk about all the things that make our jobs so hard, and so awful, and so wonderful, and so utterly what I love to do...

Thanks  

30

Stage Management: Plays & Musicals / Runsheets

« on: Mar 09, 2005, 04:16 pm »

I agree with the general consesnsus about not updating quite so much.  The last time I was in this situation I was working as the Floor Manager (glorified PA, let's say), and I found the constant run sheet changes annoying, as did the rest of the crew.  Obviously, changes were made, notated individually, and given to the ASM, but most of the time the crew just threw away her work, and stuck to their own notes.  Which makes all that work just a waste of the ASM's time.

Besides, in terms of keeping the paperwork up-to-date, the only time things really stop changing is after opening. And that that theatre, the policy was to have updated run sheets complete by Opening Night, so it made more sense to hold onto our hand-written changes and have the ASM take care of ultimately updating it on or just after Opening.