Messages

16

The Green Room / Re: fun article on edible props

« on: Sep 17, 2014, 07:44 pm »

This reminds me of my latest edible prop adventure, which I've been meaning to share with you all for about a week.

My current show involves two bottles of champagne being popped open and drank in their entirety every single performance. One of my actors doesn't drink alcohol at ALL, and all the sparkling cider we were able to find had a screwtop or a cap. It seems there's some (impossible to find) national legislation through which only real alcoholic drinks are allowed to have corks.

So I spent three hours the night after our first 10-of-12 on Google. Here's what I found:

1) Trader Joe's carries a "Sparkling Chardonnay Grape Juice" (for $3 a pop, which turned out to be the cheapest AND easiest approach) that is allowed to have a cork because it's apparently made from real Chardonnay grapes, although not fermented.
2) Although it seems like a "duh" moment, I hadn't thought of non-alcoholic champagne until I took to Google, but there are several different brands that make non-alcoholic versions of their champagne. We didn't explore this path because we'd settled on the above faux-Chardonnay, but these should be carried in some wine and/or liquor stores.
3) If you just need the champagne, without popping the cork, ginger ale is a perfectly acceptable substitute. It can go in a champagne bottle, and there are champagne re-capping systems for sale on ebay. The caps are white plastic and don't look real, but foil on top should be able to cover that up.

17

Tools of the Trade / Re: Cheap Spike Tape?

« on: Sep 17, 2014, 07:13 pm »

It sounds like the problem may be the paint itself rather than the tape, if scotch tape can pull it up. It may be more efficient and cost-effective (and less of a pain for people taping or pulling tape up) to repaint the stage with a couple of coats of expensive, durable paint, and see if that makes a difference.

Of course, that depends on who sets the budget and how willing they are to spend money on upkeep...

18

The Hardline / Re: Changing rehearsal hours?

« on: Aug 28, 2014, 12:14 pm »

Your total rehearsal hours are the scheduled times, less your lunch break. So a 2-10 is 8 hours less either 1 hr or 1.5 hrs for lunch.

The person who is cut loose early? Happy vacation for them, but since you called them until 10, their day runs until 10. Just as you would be paid for your full day even if, at the last moment, you are cut loose early.

The performance is timed from 1/2 hr to curtain down (no matter how long it takes to get out of costume/make-up).

Good luck!

Thank you very much!

19

The Hardline / Re: Changing rehearsal hours?

« on: Aug 28, 2014, 12:56 am »

You know, I didn't think it would get to this point, but here we are. Can someone help define "work week hours" for me, and how the following two rules may or may not conflict with each other?

From the Guest Artist Agreement:

5.
(b) On a non-performance day, rehearsal will not exceed 7 out of 8 ˝ hours in Tier I, 7 out of 10
hours in Tier II, and 7 out of 12 hours in Tier III.
(f) Prior to the first paid public performance, the total work week including performances,
rehearsals, costume calls, photos and classes will not exceed 25 hours in Tier I, 32 hours in
Tier II, or 42 hours in Tier III.

I'm concerned about them being read to imply that breaks aren't rehearsal time so, for example, our 2-10 rehearsal on Monday would be counted as 6 rather than 8 hours toward those 42 weekly ones. Is there a difference between 5s+10s and longer meal breaks?

What about early releases? The actors were released at 9:45 rather than the scheduled 10 - does that put another 15 minutes back in the pool of time we can be called this week?

20

Stage Management: Plays & Musicals / Re: MEDICAL PRIVACY: When an Actor Gives You Private Medical Information, But...

« on: Aug 26, 2014, 06:41 pm »

I don't think one ever has the right to disclose someone else's medical information. I don't know if it's illegal, but I would be particularly weary if disclosing that information could perhaps ever hinder that person's ability to get a job.

Let's take into account, for the first situation, that every single person is liable to have a seizure basically anywhere, at any time, without warning or a history of seizures. We should, as stage managers and as people, be competent in basic first aid; even better if we know CPR whether we're currently certified or not. Of course we could add a bunch of things to the "should know" list - what to do when someone faints, whether to apply cold or heat to a twisted ankle, how to check for signs of a stroke, and, sure, how to care for someone having a seizure. At least with this actor we have warning, so I'd ask to have an in-depth talk about what to do, what not to do, and how to help. People who often have seizures may not need an ambulance or medical personnel at all, instead just needing space, objects (furniture, props) moved out of their way, and a familiar face once they've come to. (Please, everyone, be aware that the whole tongue-swallowing thing is a myth, and you should never put anything in the mouth of a person having a seizure!) I'd insist upon including a person backstage - ASM, wardrobe, whomever - in that aid conversation so they could get onstage immediately while I handled the house and actors and made my way onstage.

The second situation would worry me legally either way. Again, no right to share someone else's information, but keeping information that could actively endanger the actor would be a liability to the theatre. If I'm not qualified to ensure the actor's safety, who is? Is there an instrument out there that can be used to check for magnetic fields and their safety? I'd probably speak to the PM, TD, sound engineer, and ME and share that an unnamed actor has a medical condition - hopefully the actor would provide me with specifics about the kind of equipment they could not be around - and ask them to double-check all of the equipment used. It might be worth it to ask a doctor for a document explaining the medical device's stats as well.

21

The Green Room / Re: Thread to vent about / Actors behaving badly / As haiku only

« on: Aug 25, 2014, 11:48 pm »

It's more convenient,
snapping fingers to call line.
Who's a good SM?

Been off-stage two hours:
"I'm tired. Can we send Dart
on a coffee run?"

Drowning in line notes.
I'll get coffee if you get
on book while I'm gone.

22

The Hardline / Re: Changing rehearsal hours?

« on: Aug 22, 2014, 07:44 pm »

Thank you everyone! I just wanted to make sure I wasn't missing anything important.

23

The Hardline / Changing rehearsal hours?

« on: Aug 20, 2014, 03:07 pm »

I have one equity actor under a GA. A small cast, most of which are just in town for this show, means that only three rehearsals in the director has already changed the schedule for the next day, twice.

I have found that Tier III (which my actor is) has a max 42 hours of rehearsal and one full day off a week - are there any guidelines, aside from breaks and the 12 free hours in between, that I should keep in mind? Anything limiting daily hours, or the number of long rehearsals we can have?

Also, while I think it's rude to start one rehearsal by drastically changing the hours for the next day, I haven't been able to find anything regarding notice (24 hours, 2 days, whatever) for rehearsal changes. But I know advance notice is required for added performances or photo calls, so I want to make sure I'm not missing something. Is there a way these changes should be handled?

24

Students and Novice Stage Managers / Re: Rehearsals: Giving line notes - a real novice question

« on: Aug 13, 2014, 10:07 pm »

From the emailers - what is the advantage of emailing rather than handwriting? Are you on your computer during rehearsal, or do you do this when you get home? How large are your casts?

I would email line notes (individually to each actor) when I was in college, and I did for my first professional show. But I found that even though it was a small cast of 8, I was spending at least an hour a night, if not much longer, dealing with notes. Add this to rehearsals running until midnight, getting home, and sending out rehearsal reports, and I could be up until 4 or 5am every day of the week.

I don't remember who uploaded the original form, but I adapted one from this site for my next production and not only do I use it all the time but actor-SMs have asked me for the template so they can use it as well. And my post-show emailing is reduced to my report, which means more regular sleep for me!

25

Stage Management: Plays & Musicals / JOB DESCRIPTION: Explaining my job over and over and...

« on: Jun 01, 2014, 11:23 pm »

This season, I have worked either as an SM-light OP or a sound OP for every single show at my current theatre, and I'm already scheduled to work the season opener for next year. Due to staffing changes, I've also become the house technician, carpenter, and main event/rental tech - any time we rent out the space, for a movie, concert, church service, or awards show, I'm usually the one running lights and opening/locking up the space. But while I'm happy to have a semi-steady job (as steady as an SM gig is going to get without signing a full season contract), I'm growing frustrated over my constantly having to explain myself and my job to cast after cast and director after director - sometimes also having to explain my crew's jobs. Since it's a Latino theatre, most of the artists are from Spanish-speaking countries, where apparently they don't have SMs but have an Assistant Director during rehearsals and a show-caller during the shows.

Not only do I have to explain myself, but I also am not given the space to do so and have to awkwardly take it. For example, in first rehearsal we usually say names and a bit about ourselves, the director explains their hopes for the work, and instead of me having the space to introduce myself properly, give out my wallet cards, share non-phone ways I'm available (I'm not paying for international calls out of pocket every time someone's late), and the like, the director goes straight to rehearsal things. I'm rarely given the space to even say my name if I don't awkwardly take up that space and interrupt someone.

I think these international performers and creatives see me as some sort of intern or student, taking copious amounts of notes out of a sense of wonder for the industry. I have gotten lip from people for going over the next day's schedule before they're released ("Well, well, well, Ártemis, it's 3 o'clock. Why aren't we doing scene 3?"), for being the one giving breaks and calling them back after, for reminding them of their blocking, for giving line notes... The list goes on, and it doesn't get better with time because the casts are new every time, and we hire Spanish-speaking artists from any country you can think of. The directors, though not new every time, primarily work in SM-lacking countries and are uncooperative and supportive. It's a miracle if I get to meet with them before first rehearsal when they walk in at the same time as the actors - so I can't preemptively explain my job, ask for their own preferences, and ask (beg?) them to let me properly introduce myself and distribute SM materials. This is at a theatre that had never even employed an SM until 7 or 8 years ago, and it's about to hit the 40th anniversary of its founding.

Has anyone dealt with anything similar? Any brilliant ideas to make the space I need for myself? It seems counter-intuitive to MAKE space for me rather than try to remain in the shadows, but I simply can't work if my work isn't understood and respected. Has anyone maybe worked in community theater and found similar issues? I'm incredibly frustrated that I spend the most time at the theatre (rather than the office) out of the entire theatre staff but nobody seems to value my work, experience, or skills. How can I be fulfilled at work like this?

Edited to add topic tag. - Maribeth

26

The Green Room / "Indeed" says 50k...

« on: Apr 30, 2014, 03:48 pm »

I have a couple of google alerts set up so when sites with certain keywords go online, I get an email. For example, when someone mentions my theatre or current plays.

I got a notification today for stage managing dc that made me laugh (and reconsider my life choices). Indeed is claiming that SM internships in the city e city are paying 50k on average. (http://www.indeed.com/salary?q1=Stage+Management+Intern&l1=Washington%2C+DC) No sources, of course.

Who's giving out these internships and how do I get one? Can I switch from freelance to intern, and stay an intern until I retire?

27

Stage Management: Plays & Musicals / Re: POLICIES: Actors TOO Early for Call?

« on: Apr 13, 2014, 06:19 pm »

I've had this issue with casts from abroad who really like each other. The admin office isn't anywhere near the theatre, so even if the actors arrive before the office closes, they can't get in unless I, or one of the other four or five people with keys, are in the building. It's gotten as bad as actors showing at 4 or 5 to a show starting at 8. I understand you're bored at your assigned house, but can't you make plans to go to a museum together?

Honestly, I draw the line at two hours to curtain. I'd hop on the metro so I'd show by 6ish to sweep, do my checks, and read, and if they showed up before me they could either pray for another keyholder, or go for a walk. Since their houses were all within walking distance and I'm paid a flat fee regardless of when I come in, I wasn't going to gift them two or three extra hours of my life every single day.

I do absolutely put my foot down on when sound checks, voice warm-ups to recorded sounds, and anything involving changes or running can happen, though, because my sound OPs and ASMs are paid hourly and the office isn't going to clear them for all those extra hours of sitting around and doing nothing after a way-too-early check.

28

The Green Room / Re: "I quit!"

« on: Apr 09, 2014, 11:23 pm »

I'm with you, ejsmith3130! I just had to ask for a weekend off in May so I can go to my sister's graduation. This would've been unthinkable if I didn't already have a relationship with the theatre.

I'll be sound OPing for the production, and since I've covered two different SM's rehearsals here this month, and I keep having sound OPs call out of shows, I feel a lot more comfortable asking for the weekend.

29

Tools of the Trade / Re: Who supplies spike tape?

« on: Apr 04, 2014, 11:38 pm »

My understanding is that even if you were the one in charge of acquiring the tape, the theatre should refund you. As I see it, the theatre is indeed hiring you and not your tape supply. The supplies you are responsible for are your own - the pad where you take notes, the pens to take them, etc. But if the theatre is using something, the theatre should pay for it.

30

Tools of the Trade / Re: TOOLS: Post It Tape

« on: Mar 31, 2014, 01:52 am »

Spotted these at Target!



6 different colors, narrower than the post-it version, and each roll is just as long as the post-it rolls are.

I found it in the kids' art supplies section. It doesn't seem to be online, but maybe you can call your store ahead and see if they carry it? I can vouch for the DC Target having them earlier this week.