Messages

16

Students and Novice Stage Managers / Re: Cover letter tailored for gaining experience?

« on: Oct 17, 2012, 10:45 pm »

Hi Renee!

I suspect you haven't found cover letters for gaining experience because it's not usually the strongest way to position yourself for paid employment.

Are you applying for an open position?  If so, they probably need someone with certain skills and/or experience, so highlight that.  If you are applying somewhere without an open job req and a small budget, you may have more luck because they are always looking for more hands and it sounds like you're willing to do anything and that doesn't require a high level of skill...  i.e., be an unpaid intern.  If you'd like to be paid, remember that employers hire for their needs, not yours.

Like you, my primary goals are to gain experience and network, but you won't catch me saying it because: a) it's true at ALL points of my career, b) it's more relevant to employers to know how hiring me supports their goals, and c) I like being paid for what I have to offer. 

One place where I might bring up what I want to learn is if it makes your application more relevant without inhibiting your ability to do a great job.  For example, maybe there's a composer you want to gain familiarity with because you've done a lot of work by others in his genre.  I ALWAYS want the cover letter to say lots more about what I'm bringing to the table.

If you still want to go the "gaining experience" route, you can still highlight attributes about yourself that the employer considers an asset.  When I started my first job search, I spent about 2 days painstakingly developing a thoughtful set of "fingerprint" skills that could help me stand out.  At that time, I felt I had no marketable skills, so they ended up being personality quirks that I positioned as assets (ta da!!!).  That resume was probably only given out about 5 times, but the time was really well spent.  I *still* refer to those skills when I'm marketing myself for something I have little experience with (because, guess what, your personality doesn't change a whole lot...).  They have been so useful for talking points during interviews, and ironically over time, my work experience has only reinforced the prominence of those skills.  The key is to make them really and truly represent who you are because interviewers can tell if they don't mesh with their perceptions of you (or worse, if they don't mesh with your references' perceptions of you).

Also, hiring is different by company.  Not all companies have Production Managers.  Research when possible.  Hiring managers are always impressed by that.

17

Employment / Re: More on juggling: guilt and rejection

« on: Oct 17, 2012, 04:13 am »

Thank you so much for your thoughtful responses, advice, and reassurances!  Clearly, there are things I am still adjusting to and it is quite helpful to have a reality check.  Coming from an environment where employees are expected to drink the Kool-Aid and sell their souls to the company, to just abandon ship over more pay or a "better" opportunity seems rather...  well, mercenary!  I suspect that will take me some getting used to.

Your comments have helped me remember that there are a lot of cultural norms that are different.  Some things are so similar, and other things are so different.  Start-up culture is often very cult-like.  Loyalty to the "tribe" counts for a lot - it's friends AND family.  People care a lot about what they've created so things can get very personal.  I've found that it's very important for me to watch for people's feelings (especially because engineers usually aren't known to be adept at expressing them).  So maybe I am over-sensitive to others' disappointment.  I can't help but wonder if there's a more removed and impersonal style that would make this easier...

Also, since I'm trying to decipher theater norms, I'm going to provide a hypothetical/contextual situation:  Let's say you're in discussions about a job.  There's no offer, but the company has been very specific to let you know they are NOT looking at anyone else for the position.  Things should firm things up in several weeks.  Let's say that you really want this job, but you also realize that... well, there's no offer.  Let's also say for the sake of simplicity that the theater circuit is small, and if you are talking with others word WILL get around.  To me, although practical, it feels somewhat rude to go out looking for something else.  But if I'm understanding correctly, in the theater world, "always looking" is totally expected - it's normal and there are no hard feelings about continuing to be on the market...  Is it so?

I still feel uncomfortable about bringing up other companies and don't know when/how best to do that (would love it if someone on the hiring end has thoughts to share about what they've appreciated from candidates when a candidate is making a decision - is it even something you even care to know?).  My intention isn't to pressure anyone or anything...  I just want to be working and if someone's said they're interested, I want to treat their interest seriously and respectfully.  Anyway, hoping to have more to consider next week - if so, they'll be great choices, so it will probably be totally agonizing...  I reckon there may even be another post!

==
P.S.  PSMKay, I'm not usually one for regret or greener grass...  I make the most of it, and life goes on.  I'll admit I am a people-pleaser though...   I hate letting people down or making them feel bad.  I take it personally.  So there's that.  Also, I think you are right that there's not enough time to really know about the companies I turned down (there have been several since the summer that do not operate seasonally, so those were the ones I was thinking of).  I just love having lots of action and learning things quickly, and the hardest thing for me about this job is the inevitable waiting and not knowing...  It drives me crazy!

Can you elaborate on "friendzoning"?  I'm at a point in my career where I've already gained a solid skill set, but think it would be so much fun to be able to work with friends!  So I really like befriending.  What is "friendzoning" and what does one need to keep in mind/be careful about?

18

Employment / More on juggling: guilt and rejection

« on: Oct 15, 2012, 07:43 pm »

Offshoot of Matthew's "Juggling Acts" post on freelancing...

OK, I confess: I hate turning down jobs.  So much so that I feel guilty if I'm talking to 2 companies at the same time.  I've only had to choose between offers once so far, but I suspect (hope!) that there will be another time soon that I'll have to do it again because I also know it's dangerous to put all your eggs in one basket.  I have this irrational fear that the one I turn down will be so disappointed that I'll never actually get an opportunity from them again and that all the work I've done to cultivate the relationship will disappear.  And it hasn't helped that so far this has been true!  I have had to pass on several opportunities since February, and I haven't heard a peep from those companies since...  I really don't want to have a reputation as being unavailable, or a "tease" - because I am always looking, but then I feel bad if I've asked them to keep me posted and then I am booked!

It is much easier if I'm already booked, but it is more difficult if I have to evaluate, because I worry about feelings of "rejection".  Does anyone have any advice on what to do if you need to turn down an offer?  Do you explain why?  Any favorite phrases?  I'm kind of new to SM'ing, and still trying to establish a reputation, so I want to make sure that I'm not inadvertently alienating future would-be employers.

Also, somewhat related: when do you stop "looking"/applying for other jobs or take yourself off the market?  Is it when you get an interview?  When you get the call that you're the final candidate?  When you have a verbal agreement?  When you have a contract?  I usually like to focus on things I'm interested in, but I know that anything can happen...

19

Stage Management: Plays & Musicals / Re: ARTICLE: Stage Managers using a paperless process

« on: Oct 15, 2012, 05:31 am »

Oooh, this is such an interesting topic to me too, Maribeth!  I've thoroughly enjoyed this thread - such great perspectives!

I fall into the camp that technology is ONLY a tool.  Don't get me wrong: I spent a decade working in technology companies immersed in the technological revolution, and am a huge proponent of technology...  when it makes sense.  I think the most important thing to know is how you and your cohorts function, and then use it if it helps more than hinders.  As clever and responsible people, our job is to assess the situation, choose our tools, and understand the trade-offs.

Pyromnt, in the near future, I think we will go paper-less, but we won't go paperless.  Until there's a day that we can have virtual callboards, or all theaters are equipped with monitors and doors to post the running orders of each show that inhabits it - or the invention of "virtual paper", paper is essential.  Once upon a time, paper was a new invention too - it was a major, major technology with many advantages, including being a very lightweight, versatile, compressable 2-dimensional surface for the representation of information.  There are some things about paper that modern devices don't compete with (e.g., foldable, inexpensive, ultra-lightweight).  And of course, there are also things it does not do as well as modern devices (e.g., distribution, legibility, a flashlight or timer in a pinch).  Still, I don't see paper becoming obsolete any time soon - economically, it's too cheap and universally accessible.  Paper has been around for eons because it's a great technological choice, and I just don't see that changing in the blink of an eye.

Some trade-offs of paper are hard to see:  My awesome mentor is so super old school, she doesn't even use Post-Its!  She writes everything directly into her score.  She manually erases and rewrites changed cues in tech, and it's tedious.  Really you would think Post-Its are a great invention.  Well but her system is not all bad - she isn't not limited by the size of Post-Its or stickers!  She writes directly above the music where she starts her call, so her calling is impeccably consistent from show to show - it's just so easy, she doesn't even need to think.

Things I use paper for: I have never worked on a show that does not require a score.  A search feature is not as useful when people sing the reference.  I like to be mobile in case I need to cue an entrance (common in opera), and I like having a portable score that I can take into the wings or (if I am assistant-less) to the other side of the stage.  (If someone invented an extra-large touch-screen kindle, I might like that, but that seems to be going in the opposite direction of the trend.)  I also like carrying around a clipboard for notes more than a device - it's not a big deal if I drop it or have to put it down, and it's faster for me to write on the surface because I don't need to press any buttons to turn the screen on or to navigate to the right app.  (Context switching actually has huge costs.)

For me, the most useful part of modern technology is: a) distribution, and b) collaboration.  Distribution: I find that multiple versions of documents are confusing.  So I use Google Docs so that I have one link that is always updated.  The cast especially likes this for the schedule because they always know where to find their latest calls.  I don't need folders for my paperwork because I haven't needed to create more than 10 different documents (usually the number is closer to 6).  Collaboration: when I am creating new paperwork to share, I make my documents editable by others.  I'm a proponent of transparency, so I always share my paperwork with whomever wants to see it.

In terms of etiquette, I often use a laptop but I keep angled away from me or closed when I am not typing, to signal that my attention is focused on the stage.  I try to only use it for rehearsal notes or things that are important to the moment.  I consider unrelated paperwork (run lists and the like) to be homework because, although I have my laptop, my job is to be focused on what's going on now.

Also, I don't know how much of this is generational.  My first manager wanted me to make all these binders of creative concept images, and my first thoughts were: we're in the digital age!  we work at a cutting-edge technology company!  I thought she was hip, but also SO old-school (that was 10 years ago; she was in her 30s and I thought she was a dinosaur).  But nowadays, I want my binder!  I want to be able to take things out of it and give them to people.  I want to be able to pass out cheat sheets of crew assignments.  I want to be able to look at images side-by-side without needing to scroll or tab between pages.  I want to be able to share whole, unshrunken images of what the Costume Designer's inspiration, in all their 17" x 24" glory!  For me, it's a functional decision.  The creative human mind likes to spread out;  mobile devices just don't have enough screen real estate for me.  I personally feel that the current generation of devices limits my ability to grasp creativity, but I didn't have a full enough view of the world to understand that 10 years ago.

More on the limits of technology:  I am wired.  I have a smart phone with a data plan and a laptop (that I spend way more time on than I should).  I know my hotkeys and can manipulate a spreadsheet like no one's business.  I live in California, own a hybrid car, and am super into green.  I am going to continue to use new technology.  But I still print out the schedule and cast phone numbers - it's just easier to reference and foolproof.  Sometimes we need tactile or kinesthetic information because that is just how our brain works and we are human beings, after all - not robots or pixels.  We inhabit the world through all of our senses - not just the visual and aural ones.  There is something about analog life that engages people's gut and soul - and at the end of the day, that's what motivates and moves us.  Or maybe that belief is just why I moved into theater...

20

Stage Management: Plays & Musicals / Re: TOURS: Tips for Packing?

« on: Oct 10, 2012, 02:24 am »

MarcieA, I'm so glad to know someone else is a duplicator.
+1 on international converters, e-readers, duplicated toiletries.

I haven't toured, but I've travelled a lot for work.  I wouldn't be away for months, but maybe a month with different locations, and frequent trips.  I hate packing (and unpacking), so my goal is to make the travelling easy so that I can enjoy wherever I am.  I'm a practical packer and like function over form...

Practicalities:
Duplicate chargers.  In addition to toiletries, I ALSO have a small pouch for all of my electronic chargers that I have in duplicate (I treat them like toiletries, because I use them every day, only they are more expensive to buy if you forget and I hate that feeling when you've just arrived and say: "Did I forget to pack my cell phone charger?").  It's annoying to wait for a replacement charger which are often difficult to get, and if you're traveling to many places quickly, it's stressful to anticipate where you're going to be so that it can be delivered to you if you need to order it.  Since I never unpack my charger bag when I'm home, it makes it SO easy to grab it and go when I need to leave for a trip.  You can buy extra chargers for anything on Amazon.  I also have a friend who swears by IGo, and his travel bag of electronics is way smaller than mine.  I'd love to find a reliable source for interchangeable USB tips, but I really haven't yet.  I'm a huge believer in duplicating things you will pack often.  It's made my life so much easier.  In a pinch, some hotels (usually high-end ones) will have phone chargers you can have on loan.  I will also bring a spare USB-to-micro or mini-USB cables.  I can download photos or phone data to my laptop at any time if I accumulate too much.  It has also been useful that if I leave my phone charger somewhere, I can still charge it from my laptop.

Travel-size toiletries.  I do take 1-2 hotel-sized shampoo/conditioner samples that I've picked up from a hotel, and replace them from whichever hotel I'm at as needed, but I don't carry more than 2.  They're super easy to travel with and I hate landing somewhere and discovering that the hotel doesn't provide shampoo.  If I'm going somewhere sunny, I'll fill a 3 oz. bottle with sunscreen, or aloe.  Empty ones are also useful.

Luggage:
Compression bags.  An alternative to packing cubes: http://www.amazon.com/Compressible-Vacuum-Seal-Travel-Roll-Bags/dp/B0009VCB6Q/ref=sr_1_5?s=home-garden&ie=UTF8&qid=1349552739&sr=1-5
They take a little getting used to, but I like that I actually CAN fit more in my bag which was useful for long or multi-destination trips.  Because they are vacuum packs, also protect some clothing items from wrinkles by leaving a little more air (also because the air is vacuumed, wrinkles aren't as much of an issue).  I guess it's like a glorified ziploc bag, but they come in way larger sizes.

Carry-on.  Expandable, with spinner wheels.  I carry-on everything whenever possible (it also encourages me to pack light).  Since I'm next to all of my stuff I don't need to pack an extra change of clothes.  I have a Samsonite spinner that can expand and fits in the overhead compartment.  I love the spinner wheels because it makes getting out of narrow planes super easy and it's easy to wheel upright, which means I can wheel other bags on top of it without straining the handle or my arm.

Suitcase lock.  My Samsonite allows me to lock the zippers.  This is SO useful because not all hotels provide a lockbox for valuables.  So I would lock my laptop in my suitcase...  Now, it's not foolproof - there was one time that I came back from being out in Cambodia and found that my room had been broken into and someone had stabbed a pen into the zipper and ripped open the suitcase (fortunately, the hotel did provide a lockbox, which I had used for my money belt and laptop, so they only got my corporate blackberry).  It's provided me some extra piece of mind when travelling through areas with questionable security and standards.  Here is a trick I learned from people who had to travel with very expensive technical gear.  If you really want to protect your valuables, put the "Do not disturb" sign on the door - hotel staff has no idea if someone is in the room or not.

Purse/backpack.  I deal with the bag/purse issue by packing a small-medium hobo that folds flat into my carry-on.  It's so easy to pack, and I'd much rather have the option to not bring a bulky backpack, especially if I want to go somewhere nice.  I bring the huge backpack as a personal item that has my laptop, precious items, glasses, Kindle, knitting, headphones.  Basically, all the things that would be difficult for me to replace or that I need for my in-flight entertainment.

Money belt/travel wallet.  If I am travelling internationally, I carry one that looks like this:
http://www.amazon.com/gp/product/B001MTUJRM/ref=s9_simh_co_p198_d0_i3?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=left-2&pf_rd_r=19ESKMJ28DBDSFMJHRK8&pf_rd_t=3201&pf_rd_p=1280661782&pf_rd_i=typ01
I like to carry all of my "valuables" (i.e., passport, emergency credit/ATM cards, extra money) in one place, and on my body, under my clothing.  I also keep my itinerary there and any emergency contact information or arrival instructions.  It streamlines my travel process because I don't need to rifle through my backpack to find my in-transit goods.  I carry the usual load of credit ATM cards and spending money in an actual wallet separately so that I don't need to access the money belt unless necessary.  When I am in settled, I act like a local and carry only what I need in my purse or wallet.  I throw the the money belt in the lockbox.  Jury's out on whether this really is safer in transit - I've never seen an incident with or without it, but it is definitely easier for me to stay organized and get ready to leave the room quickly if our flight has been delayed and we only have 5 minutes to check in.  The first thing I do when I get to a hotel room is figure out the security situation and lock away my valuables.  Then I move on with life.

Extra duffel.  Also because it's easy to pack and folds flat.  I've found that this is not a huge deal though.  Usually when you're travelling, you'll be able to buy a spare bag if you need it.

What to wear:
Bathing Suit.  No matter how short a trip is, I pack a bathing suit.  You never know where you'll find a pool or hot tub and it can be *so* relaxing to sit in one after a long day.  I've been grateful for this choice more than I can count.  And I've wished I'd remembered to bring one more often than any other single item.

Clothing.  I don't stress too much about forgetting something here because if I can pick up extra pairs of underwear or socks easily (but do bring bras because they can be a pain to pick up elsewhere).  Usually it's something like: 2 pairs of jeans, pants, 3 t shirts, 2 long sleeves, 2 sweaters, 1 skirt, and 1-2 weeks of undergarments.  I always try to pack a dress or something nice (that doesn't wrinkle or need special care), and layers.  It's usually easy to pick something up locally: it will probably be better adapted to the environment and you get a nice souvenir.  In Peru, I picked up a warm alpaca sweater, and in Hong Kong I picked up a paper-thin rain jacket (which I now pack with me whenever I think it might rain).  If you are wearing the same thing week after week, they'll probably go through some wear.  I have a friend who would pack items she would otherwise goodwill, expecting to leave them behind as they wore out and she needed more space in her suitcase!

Accessories.  For the longest time, I didn't pack accessories.  But they're the easiest way to adapt to the dress code.  They take up very little space, but I don't overdo it (because again, souvenirs )  I keep my jewelry in my backpack when I am in-transit and don't bring anything super valuable.  Also bring spare hair clips.

Shoes.  There is no reason to bring more than 3 pairs of footwear.  Ever.

Basic black.  I suppose I don't have to say it here, but wear black.    It doesn't show dirt, and can help camouflage if you don't have exactly the appropriate thing to wear.

Local knowledge:
Language Tools.  If I'm going to be somewhere for a while, I like to bring/acquire a small phrasebook that I can have with me, if I want to take a small excursion on my own and feel independent (knowing some romance languages also helps really well).

Currency.  I try to spend all my currency because for some reason, but for whatever reason, I'm usually left with some on my way home.  I keep that in a bag at home and take the right currency with me if I'm returning to the country.  Now that credit cards are taken everywhere, it's less useful, but it also means that I can go some distance without needing to exchange money right away (which can also be safer).  I have my Dad to thank for that neurotic behavior.

Extras:
Down jacket.  If I am travelling somewhere cold I will pack my down jacket because it compresses nicely.

Super-thin raincoat.  If I'm staying away long or going somewhere that will probably have inclement weather, I pack a thin raincoat.  What I love about the super-thin raincoat is that if it's hot and monsoon-y, it doesn't make me hotter, and if it's cold and rainy, I just layer it over 3 sweaters.

Headlight.  If I think I'll be somewhere with low power, I'll pack my camping LED headlight.  It's smaller than a flashlight, and can be more convenient if I want to read in the dark, go down the hall, etc.  And yes, I've used it.

Other tips:
Count bags.  Another trick from Dad.  As you travel, you might end up with more bags and they're easier to forget when you're travelling.  Try not to, but if you do, just count them.  It's like counting all the kids before they enter.

21

Tools of the Trade / Re: stopwatches?

« on: Sep 26, 2012, 11:26 pm »

I was recently in the market for a stopwatch and got a Sportline Tough Timer (480).  I did a pretty exhaustive search because I was looking for a very specific set of features (well, two specific features, really).  In addition to being silent, there's an EL light!  As a bonus, it also provides a click for auditory confirmation that it's started.  I wish it were a solid color, but now that's just being picky...  It's 18.52 on Amazon.

22

Stage Management: Other / Re: Creating a Handbook

« on: Sep 26, 2012, 10:47 pm »

Hopefully, you've already created this by now, so you'd have many more pointers to add than I present here.  But since this thread has resurfaced and I've done a lot of these, I thought I'd just add some extra things that others may find useful.  I've created several handbooks for previous jobs and they stayed in use for training long after I'd moved on.  Caveat: I've never done one for theater, except for my own personal notes.  Also, my previous responsibilities were for building/starting new teams, whereas you may have a team already in existence.

1. It always helped me to start with an outline first, including things like: processes, policies, forms, contacts, etc.  This outline becomes the table of contents.  For processes, I would draft each section roughly, and refine as I went through the process myself.

2. I also start with big picture/contextual orientation first to help them get the lay of the land, which included some team history, mission/vision, larger goals (in this case, it might be a season schedule), how the department fits into the company.  For anyone working with other departments, contact lists (and *why* to contact them) are critical.  Navigating the organization is the first step to getting comfortable with a job.

3. I think it is important for people to have both a 50,000 ft view of their job as well as the 100 ft view, so I would include an overview about what the SM's core responsibilities are.  Also, cheat sheets are great (one-pagers about the most important things, and then you can include detail elsewhere).

4. If your company doesn't already provide a general handbook, you may want to outline specific office tasks, like how to use the printer/copier or how to login to a web app - just basic productivity in another section.  (If you can address it by an office tour, do that).  Get into specifics once they have their bearings.  If someone from outside of the company is taking over for you, this is super important because knowing these little office things will affect their ability to get off the ground.  If it will always be someone from within, they'll probably already know these things, so you won't need to provide that.  I would err on the side of caution though.  You never know when they'll need to get someone from the outside, and that's much more likely to happen with theater than it was in the corporate world.

5.  Maybe a philosophical issue, but I am not very draconian about forms (personal preference - I also don't like telling people how to do their jobs as long as the results are right).  I include them as examples or resources.  People will usually use the forms you give them anyway, and I think a little deviation allows for some flexibility, freshness, and evolution.  Since they will be in a decision-making position, it may help to let them know how much they can deviate from the manual; that may depend on the culture/age of the company.  In my corporate life, we were very liberal which allowed for some great invention.  Sometimes the wheel did get re-invented and sometimes the wheel was improved.  But it helped us learn what was "best" and see different ways of working.

6.  Try to keep it short, because it will grow and you want people to get started quickly.

7.  For anything requiring complicated computer navigation/new software, people *love* screenshots.

8.  To get people up to speed, the manager also provided them with a personalized "Getting Started" doc, so that they knew what their first projects were going to be, which meetings they needed to attend, distribution lists and who to include on notes, who they needed to start talking to, how to navigate the fileshares, what documents would be helpful to read and where to find them, etc. so that they could be an involved team member as soon as they started.  (Unlike #2, this is a section related specifically to the department).  Knowing who/how/when they need to interact with was key.  For your project, I would have a section that is a timeline-styled procedural doc that other posters have mentioned.  Basically something that very specifically says, "These are the pieces of your job.  Do this."

9. ... which brings me to Checklists.  Who doesn't love checklists?  For this project, I'd use a lot of that format because you want whoever does your job to hit the ground running without missing a beat.

10. I also want to keep the information only in one place because it's easier to maintain only one section if it changes.  I will then reference (via link) that section as needed.  Resist the temptation to copy/paste information.

11. My favorite part of creating handbooks is the hand-off, when the first person who is going to use this gets it and they become the "owner" of it.  They become responsible for adding anything they would have found useful, or anything that has changed.  I hate maintaining handbooks, but it is a great first assignment for someone new and it gives them something very useful to do.  Especially because they are the final audience.  Since they just read it, they know exactly what they would improve about it!

12. Especially if it's a close-knit team or a training doc, I often have a section where they can pass on a few words to their peers at the end of the handbook - something that conveys culture and voice.  Sometimes this becomes a functional "best practices" section, or a "what to do if...", or just a humorous selection of quotes.  Often this ends up relaying something about the culture or values of the organization (for example, "a short, fast response is often better than one after 2 weeks of research", "Use spellcheck.")

13. Finally, I don't see the handbook as ever finished.  If it's useful, it will be a living, breathing object that evolves as work processes of the organization does, even long after you've moved on.  It is important to me that other people also own it and can update it as necessary.  I would opt to use some sort of collaborative software, preferably one that tracks authorship and dates.  (In my previous life, we used wikis... but this is theater we're talking about!)

23

Employment / Re: Grad school or professional work?

« on: Sep 26, 2012, 10:40 pm »

Matthew, I will wager that your work experience also helped you make some great connections and land some amazing jobs. 

Just a word about networks, because it sounds like that is your worry:
As Matthew says, network is important.  Since I was starting from zero, working enabled me to both develop a network *and* gain experience at the same time - and I knew what I needed *first* was the ability to do the job.  And I was lucky that the beginnings of a network came with it (sounds like that worked for Becca too...)

You never know where your network might come from - you can create one wherever you go, whether in school or outside.  I met an amazing Broadway vet because she toured on Wicked with the propsmaster/husband of a woman who works for my mom (random? yes!  impossible?  no!)

I do think location is a critical consideration for network - it sounds like Becca and I both live in urban areas and that probably helps us to find a great network.  I think it is smart of you to recognize that your location/environment has some bearing on who you get to know.

A word about jobs:
Keep working.

Lastly:  Everyone has their own path.  Yours may be different too.

24

Employment / Re: Grad school or professional work?

« on: Sep 01, 2012, 04:43 pm »

Agree with that for any type of grad school.  My life lessons: Do not go to school unless you have to, and don't think of it as a foregone conclusion.

Real life example of Matthew's points: My first year out of school I thought I "knew" I wanted to go to business school in a few years.  It was a rocky time and I thought more school would qualify me.

A few years down the line, I started applying...  even after a friend of mine (who had gone) looked at me dumb-founded and said, "Why would you go to business school?  People go THERE so they can have YOUR job."  I felt like a dolt, but it got me thinking.

Just after I received my acceptances, I was offered a job that I considered my "next step" anyway.  Needless to say, I did that instead and never went back to school...  Then I decided to abandon the corporate world entirely.  Boy am I glad I didn't take on a gajillion dollars in debt.  The only wasted time and money was spent on applying - but I learned something. 

I never went to grad school for theater either, but it didn't even cross my mind to do it that way.  It can be a disadvantage, but I learn way more on the job.  At this point (still early), it's going well enough that I don't think there I'll ever need to, and I certainly don't want to (it also helps to have fantastic mentors who never did).  I stage manage because I love being in rehearsal, listening to the music, and the logistical challenges of putting on a production - not because I enjoy reading or listening to lectures.  Pretty quickly, what you can do is what gets you the next job.  Work your way there, if you can.  Education is just a bullet on a resume.

If you do go (to *any* grad school), know what you're going to get out of it, and make sure you get it.

25

Employment / Re: Choices to make: what would you do?

« on: Jul 03, 2012, 09:59 pm »

It's about time I reported back on my decision!  Especially since it has been made, and being experienced as we speak.

First I want to echo Mac Calder's thoughts that there are no wrong decisions.  You learn from everything you do.

After changing my mind a gazillion times (even on the day I made the decision) and asking a lot of people in the industry, I took the ASM job at the local Big House.  It was a difficult decision that I really didn't want to make.  I received a lot of mixed advice.  In the end, I felt that I wanted to have the experience of working somewhere that was really special to my appreciation of the artform, and because so many people I look up to have worked there, I felt I needed to see what it was about.  The hardest part was having to pick up the phone.

I also did what ChaCha suggested and just left doors open.  Or rather, the doors were left open for me and that made it much easier.  The connections I made with the summer festival left the door open for the future and they were *fantastic* about making me feel like it wouldn't come back to haunt me and that it would be great if we could work together another time.  I couldn't ask for more understanding people on that side of the table (but they are also great professionals working at top houses in the country).  I really do hope I get to work with them in the future.

So now that I am here, I absolutely love it.  At first, I was worried that I'd have a lot to learn, and I do...  but I also realized that I do know a lot and it's not all that different from the smaller houses I've worked at.  There's not a day that I don't think to myself, "I'm so lucky - I love what I do!"  In making this decision, I have the wonderful opportunity to work on another production with my mentor.

What has changed since is that I realized I *do* want to work for A Big House someday (I guess the 3-5 year plan?).  If I'm going to do this, I don't want to only work in small theaters - I really want to take on some big challenges and do some hard very hard, complex work.  So that has helped to refine my thinking about where I want to go next.

Thank you for contributing your thoughts to my decision-making process!!!

26

Employment / Re: Choices to make: what would you do?

« on: Mar 22, 2012, 04:02 pm »

What wonderful advice and great reminders!  Appreciate all the input.

I hear your thoughts on long-term weighting and evaluation, as well as thinking abstractly about those career goals - it makes so much sense!  SM'ing kind of started as a hobby, but then it started taking off and I liked it much more than tech.  I haven't done a proper re-assessment of my goals since leaping in (in Dec/Jan) and I need to (in my albeit poor defense, but i've been working and gaining new skills instead of doing all that useful goal setting...!  sigh).  And having this choice totally came as a surprise - which just tells me, you need to be ready for anything.

Thinking about the long-term future (both in terms of building relationships and especially with letting one go) sounds really key, and ultimately may be more about handling the situation to build my network than the decision itself, with preserving/building relationships being the most important thing to consider (loved your perspective on using that to build networks, chacha).

It sounds incredibly silly, but despite having worked for 10+ years, I have never had to choose between jobs before - I've just gone from one thing to another.  Things came up at the right time, or I've just known what I wanted and pursued that.  It is incredibly interesting to be in a field where jobs last several weeks, and so one always need to be thinking about what's next... keeps you on your toes, that's for sure.  And, perhaps the nature of freelancing.

I had thought the comp would be similar, but it turns out that the ASM job at the larger house pays ~twice as much (theater is so crazy!)  I also have a financial reserve built up just so I could take things and not worry about the funds as much this year (as long as it pays. ).  If I do the ASM job, I could take another job working with my mentor because the schedules would work out.  I'd probably do a solid job with the PSM role - I know I'd love the challenge and intensity of having my first official PSM spot, but would need a vacation afterwards.  I built my previous career working in crazy... and I grew up in NYC, so I love being around crazy...  Definitely not an easy decision.  Better get used to that though, because (I hope), it's not the only time I'll have a choice to make.  Making a decision by the weekend...  Will keep you posted!

27

Employment / Choices to make: what would you do?

« on: Mar 20, 2012, 04:28 am »

I've been lurking on this fine forum for a while, trying to figure out how to leap into the fray and when to take a stab responding to a post.  But now I've suddenly gotten a quandary myself...  so I guess this is how I'll start.

I'm in a similar pickle as the previous poster, having two possibilities for the summer and wondering if there's a wrong or right choice.  I consider both of these completely phenomenal opportunities that I am very fortunate to be in the running for.  I feel deeply sheepish turning either of them down, but there is absolutely no way to do them both (believe me, I've asked about some creative options).

I know there's all this follow-my-heart business.  I'm really curious to know what more seasoned professionals would think about the dilemma (also knowing that nothing is ever for certain - either of these could be the worst experience I've ever had).  What would you choose?  What questions would you ask (yourself or others)?  What would be the important things you would consider and evaluate?

A) ASM at "the" local big house's summer showcase for their young artist program (which is within the top 3 in the country).  The talent from this program often goes on to national and international houses later in their career.  Possible to get a foot in the door, although it is technically a separate company from the big house and I don't think there is often a lot of cross-over.  The SM seems super great, really fun, laid back and connected to another well-respected house in the area (albeit in a different discipline than I am used to working).  The production is non-union, but they employ union crew (I would benefit from having that experience.)  It would also be a great resume builder since the house is nationally known and well-respected.  I applied cold for a different job, interviewed for it, and they came back with something that's an even better fit for me!  I do still love ASM opportunities because it's a great chance to see how others do things.

B) PSM for summer festival with strong connections to a big house in NYC (also Philly and UK) - and some extraordinary folks (cast, director, conductor, and guest faculty).  They will have both a professional-level show as well as a young artist showcase.  Too early to say where their young artist talent ends up, but pretty safe to say not on the same stages...  I haven't PSM'ed before (although I've acted in that capacity and been mistaken for one, so it wouldn't be a total stretch - the opp was for an SM, but they've offered me a PSM credit).  It's a small festival, but is growing - it has plans for growth, has grown, and seems to be able to attract the level of talent that will enable it's future growth.  This is the first year they've needed an SM so I feel that I have a lot to offer and it's right up my alley to start something from scratch.  It would be a frantic, action-packed, and exciting summer.  One of my mentors made the intro, thinking I would mesh well with the director.  Given the star quality of those involved, I am a little nervous that the people here since they have worked with some real pros (also knowing how truly amazing and experienced my mentor is) - I'm of course flattered that she recommended me, but there is that fear of "blowing it" (I can perform well under pressure though).  Although the production is itty-bitty, I'd learn a lot about how people who operate at a certain expect for things to get done - I just haven't had much experience in a "big house" environment (or summer stock, for that matter).

And then, since I think these are both amazing opportunities that I am so grateful for, how would you let the other go without burning bridges?

I have my thoughts on what to choose, but I'm curious about what others think before tainting the waters.
Pay is comparable (I don't do unpaid), but I'm looking more at the size of the opportunity and how it could impact the future.

More about me:
I'm a freelancing SM who has come to the career later than most.  I only have a couple of years of part-time backstage experience behind my belt, but over a decade of transferable skills to make up for it (did a lot of cross-functional and operational team building and management) in start-up and corporate environments and lots of performing experience.  My objective for the summer is to learn as much as possible, and also to expand my network so that I can support myself with my new career choice.  I wouldn't be adverse to moving for the right opportunity.  I'm used to doing whatever it takes to get the job done - and I do really poorly with job descriptions.