Messages

151

Employment / Re: Workers' Comp

« on: Jul 16, 2009, 06:48 pm »

That being said I have never worked for a company (whether intern or AEA PSM) who did not have worker's comp. I was under the assumption that all theatres (besides community) has workers comp insurance.

Am I wrong guys? Is there really actual jobs out there that don't offer workers' comp?

I believe Independent Contractors are required to carry their own insurance...you may want to check on this. Some states don't offer state worker's comp at all.

152

Employment / Re: Lowering your expectations

« on: Jun 29, 2009, 06:36 pm »

Lowering my expectations…hmmm…having started out in small SF Bay Area theatres, it never occurred to me that I had lowered my expectations. These theatres had little resources. As a non-union SM, I learned enough about the different departments in theatre to be able to fix something and not hurt myself at the same time.  As a union SM (and on larger non union shows), I had crew so I was able to delegate.  I can’t think of a time I had my own office.  That didn’t come till I was production manager for a large event facility.  Even then, the senior staff and I learned to make do with the minimum (supplies and personnel).  As far as lowering my expectations…well…maybe because I’ve worked with so little for so long it never really bothered me.

153

Stage Management: Plays & Musicals / Re: PROMPT BOOK: Creating a Calling Script (meta-thread)

« on: Jun 28, 2009, 09:27 am »

(oddly, I just had my first LD refuse to give me the plot, citing artistic/design rights)

This is a little off topic, but I hope the LD gave you other paperwork to help you during the run/tour.  I guess the LD could have written on the plot--property of (blah, blah, blah) no unauthorized use (or something like that)

I am intrigued by your method, TomorrowToday...may have to try that next time.

154

Stage Management: Plays & Musicals / Re: paycheck = percentage of the house?

« on: Jun 18, 2009, 01:51 pm »

Years.....and years.....ago, I worked at a non-professional theatre that paid all running crew 1/4 of the net from the box office. (Worked out best if you were on a small crew show!).  Is it posiible to negotiate a minimum base fee and then a % on top of that if the show sells well?

155

Employment / Re: Help!

« on: Jun 11, 2009, 01:04 pm »

You said you spoke with the owner of the company?  I would go back to the owner and let the owner know how difficult this is getting.  This sounds like the person over the director needs to establish (or re-establish) what everyone's role is in this company.

156

The Hardline / Re: TYA Virgins?

« on: Jun 05, 2009, 02:02 pm »

TYA= Theatre for Young Audiences
Equity contract

I have heard the term: theatre for young audiences in reference to a type of theatre program and/or a specific theatre that presents "theatre for young audiences"

157

Students and Novice Stage Managers / Re: Starting a tech

« on: Jun 02, 2009, 12:59 pm »

I have a style I that I run a tech by, but will always check at paper tech with designers and director if they have a preferred method---and meet in the middle.  I can't stress enough to be prepared for the "go" time of the first tech (be it with or without actors).  If this means I'm at the theatre several hours before or prep a little each day leading into tech (union hours permitting) then that's what I do so that we're not all waiting around at the go time.  Certainly, you may run into something no one anticipated (equipment failure, etc) and then you see what can be salvaged of the tech or if it's best to take a break and fix the problem.
MatthewShiner has some very good points about starting a tech.

158

Stage Management: Plays & Musicals / Re: Who writes your rehearsal schedules?

« on: May 31, 2009, 02:18 pm »

I do a French Scene breakdown of the show, turn it in to the director and we either work together on a schedule or the director does the schedule and we refine it together with fittings, PR, etc.

159

Stage Management: Plays & Musicals / Re: Care and Feeding of your Crew

« on: May 25, 2009, 12:34 pm »

No, not an IA contract---that would have not been tolerated & headsets would have been turned off if not show delayed while promoter was called to task w/ the SM's.  This isn't the norm for this theatre.  SM's are nice and grateful to the crew as well as respectful.  And, no, this SM team isn't savy enough to know there IS a website where SM's who care about their work visit and exchange info.

160

Stage Management: Plays & Musicals / PROFESSIONALISM: Care and Feeding of your Crew

« on: May 25, 2009, 09:27 am »

I wanted to start this thread after what happend to me this past weekend.  I substituted for a crew member in a community theatre and was floored by how rude the stage managers were!  There were no time calls to cast nor crew before the show nor at intermission (in fact, I never saw either of them come down and walk the stage ever!!).  The "calling" SM put on his headset w/ the mic on--you know, that awful clanking in your ear that happens when some one does this.  I asked that he turn off his mic when doing that and he laid into me--"hush up" which later became "shut up".  Now... I've only been an AEA SM since '82 and IATSE stg hand since '98...hmmm..and I must say that his calls were horrible.  He would combine his Warns & Stand-Bys, "Warning and Stand By for curtain"---uhhh...which is it?.... Leave us waiting on the cue way too long, call stuff at the wrong time if at all, didn't know what a scrim was so never called it that (he refered to it as a black drop which I figured out after the 2nd scrim cue).  I got a lot of the real cues from the actors---there's a lot of no confidence in the SM team on their part---and just ignored the SM's barbs--they didn't  turn off the headset mic while talking bad about me---until we got to an important cue and he was apparently calling it w/ the mic off.  Once again, the cast told me, "this is the cue...GO".
My point is that I've been places where if a stg mgr did this, the crew would have walked off the show or would have found other ways to make your life miserable.  I know these two don't realize how important it is to take care and be nice to your crew.  I've been in reverse situations as SM where the crew was really not very pleasant and my choices were: 1) act like them and not be nice back or 2) kill them with kindness.  #2 always seems to work. A not nice crew turns into very nice quickly and appreciates the fact that I brought donoughts and wait while they take forever to relamp a fixture. Before the day's out, they're giving me pointers on stage craft and going above and beyond the call.
It takes a certain temperment to be a good SM...and I went through a learning curve of thinking I was "all that" until I learned the crew is very valuable and no...you can't run the show (fly rail, deck cues, prop hand offs, quick change dresser and lights) all by yourself.
My vindication from the other night was that the SM team missed important cues and the show was not tight--they spent time chatting in the booth rahter than paying attention to the show.  The SM's knew this, knew I knew this AND theatre mgmt is very aware of this.
Take good care of your crew and sing their praises often!

161

Employment / Re: Moving for a Career

« on: May 24, 2009, 10:09 am »

Just like nmno, I moved to NC ( I'd been an SF Bay Area native for many, many years!!) because my husband got a TD job in a medium sized city at a well known community theatre there (here).  It was scary for me since all my work had been in the SFBA.  Within a few months, I networked in my new area and now I'm an adjunct instructor in the theatre dept. of a local private liberal arts university (I love this job) as well as doing lots of other freelance theatre work in the area.  I miss the Bay Area, too but feel this was a needed change.

162

Stage Management: Plays & Musicals / Re: Rental set dilemma

« on: May 06, 2009, 11:25 am »

  I'm thinking of sending Director #1 an email, letting him know that I've been enlisted to this end, and see how he feels about it.  I do not want to jeopardize my relationship with him in order to forge a new one with another director. 

Does this sort of thing happen in the business more often than I'm aware? 

To answer question #2 first: sets from one companys' production are often sold/rented to another company presenting the same show.

On question #1 I agree with your own comment--definately get in touch w/ director and see how he feels about it.

Let us know how that goes.

163

Employment / Re: How Much Is Too Much?

« on: May 05, 2009, 08:57 am »

I disagree: Taking the job with the intention of leaving it should something else be offered isn't good business practice.  The theatre world is small and leaving a (temporary) job (other than an emergency) after you've accepted... word gets around. 

In my opinion if you have to put up with a director as difficult as the one you describe, then it is not worth it, but you are the only one who can really make that decision.

I second this--it is ultimately your decision.

One thing you could do is speak with the powers that be at the school to try and have this round go a little smoother than your initial experience.  You could indicate that you do want to come back but think it would benefit the entire process (and in turn, the production itself and the individuals involved) if there were more clearly defined roles.  This should do a lot improve communication and nobody would be in the dark as to who is responsible for what. 

A very good sugestion--the director may not be aware of how you feel and that you'd like to improve the situation.

Good luck.

164

Stage Management: Plays & Musicals / Re: Rental set dilemma

« on: May 01, 2009, 03:48 pm »

Overall I wouldn't be too concerned, if they wanted a completely original concept they wouldn't have rented a set....

I agree w/ NomieRae.

Also, with a rented set, directors are somewhat locked into how blocking is going to work on an already existing set (doors and windows are where they are).  Is this a production of the same show you did with this set?

165

Employment / Re: Read your contracts carefully

« on: May 01, 2009, 10:18 am »

Absolutely read the contract.  I recently turned down a design gig because the contract required extra stuff that the position has nothing to do with. The contract also didn't pay till after the show had closed and gave the producer the right to decide if the contractor "did the job satisfactorily" or some such similar phrase.  What?  I do the job, the show runs and THEN you decide IF I should get paid? And this company wonders why it can fill the position...