Messages

1561

Stage Management: Plays & Musicals / Re: Production Stage Manager v Company Stage Manager

« on: Jun 03, 2009, 07:28 pm »

I basically have the same job, my title is Resident Production Stage Manager - and I think that indeed would be the industry standard for our type of position.

1562

Students and Novice Stage Managers / Re: Starting a tech

« on: May 31, 2009, 07:34 pm »

I have tried like five times to fashion a response to this question, and all I can't think of is, the show will always dictate how you are going to tech it.  You can't treat every lighting designer, every show, every tech the same, you need to approach it with an openness and flexibility to do what is required to get you from the first cue to the last one, safely, artistically, and sanely by the time your tech process is over.

So much of how you tech a show is about your own personal style - how one person works, is not going to be how another person works.  And what works for me, may not work for anyone else.

By the time you sit down for the first day of tech, you should know what the problem areas are going to be (hard transition, quick changes, complex tech sequences), you should know how your lighting designer wants to work, you should have talked to your director about how they want you to run tech, you should know what your actors are going to need form the tech process, and you should know what the tech crew are going to need from the tech process.

To give hints or details, or share stories from my past, may just be confusing and wrong for another stage manager.  For example, I rarely go back to for myself to call a complicated sequence, I wait for a director or designer to ask to go back.  On my recent show, the LD was a couple of pages behind me most of the show, and I would just flip back and add the cues, and we worked on spacing and staging on stage.  The first time I called the cues was during the first run.  We held only for quick changes and staging issues. I have worked on shows where we dry teched EVERYTHING before an actor stepped onstage - so it was basically just walking them through and adjusting LX for blocking changes.

The act of running a tech is the defining moment in a stage manager's job - it's an extremely complex process, one that requires personal style and finesse and experience to pull off well.  I know some really experienced stage managers who tech shows poorly.  I think it's one of those things that time, experience and pondering techs past are the only way to improve.  (If you ever have the chance, watch other people tech or have someone watch you tech - it's interesting observe stylistic issues without the pressure of being in the hot seat.)

So, I guess the way to start a tech is the way tech needs to be started.

1563

Tools of the Trade / Re: Twitter.

« on: May 31, 2009, 12:42 pm »

The PR department has asked me, as resident production stage manager, to tweet during the production/tech process.  I usually try to update it once a day - although sometimes it is very hard to say "today we sat around and discussed Act 2" and make it sound exciting.

1564

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

« on: May 31, 2009, 09:52 am »

Usually, either the director will tell me what they want to rehearse . . . and I work in fittings, union rules, etc . . . or, I come up with a draft, and run it pass the director.

1565

The Hardline / Re: Overtime

« on: May 30, 2009, 09:43 pm »

Which region are you?  It would be interesting to note.

I have worked out both east and west coast, and often have gotten different verbal rulings on various issues, and sometimes the same issue getting two answers at two different times.

 If you received a verbal ruling it may have been given to you and your specific situation, and may not apply to ALL situations.

But yes, I have been told my business rep that that once the hour is paid at the higher rate, it is out of play.  But that was for my specific situation.  (In all my cases, it was issues of either going over the day and, thus, eventually going over for the week - never for a meal penalty, or something like that)

I mean, what can you charge for overtime for .  . .

1.) Over for a day
2.) Over for the week
3.) over 12-hour span
4.) violating 12-hour turn around
5.) excessive costume fittings
6.) excessive photo calls
7.) violating daylight day of rest
8.) violating day off
9.) Meal break penalty
10.) Regular Break penalty
11.) violating 12-hour notice
12.) meetings for stage management (outside of tech week) - that are outside of work week hours.
13.) going over work week hours (but not rehearsal hours)


I know I am forgetting some situations - we should add to this list.

To be honest, I don't know the rate for all these - the one I most deal with is excessive costume fittings outside of the 4 hours allowed or violating daylight day of rest.

But again, I have always billed on hour of overtime once, but I have not called AEA on this in about three years, so maybe they have changed their policy on it.

Next time it comes up, I will have to call my rep.

1566

The Hardline / Re: Overtime

« on: May 30, 2009, 09:27 pm »

I have always been told my rep that although specific things are over time, time and half, or double overtime, the hour is billed only as one unit - but on the higher rate.

That is, if you went over time on one day by an hour, you will bill for that hour, but then the time, since already paid as overtime, will not be billed because it put your over the weekly hours.

You can, for example, never go over on the per day, but end up going over for the week, and then you bill for the times over the week.

Since you have to get overtime approved before it's scheduled, what are your producers saying?  I think you should talk to the rep, as this is very specific issue.  I think Stage Management and the producers should discuss, and make sure possibly the deputy and Biz rep should be all be included on the conversation.

Also, how you choose to bill overtime is also a personal choice for yourself, although you should bill correctly for the actors.

1567

The Hardline / Re: Director Giving Notes

« on: May 30, 2009, 07:30 am »

There is no rule that a director can not give notes after a performance opens.

At my theatre, we have a resident assistant director who givens notes after any performance.

I have worked with a director who had notes waiting form the cast (and myself) at the dressing room station (or my calling script) for EVERY performance.

I have had directors come back after opening, and not only give notes after a performance BUT then call a brush-up rehearsal.

Unless a theatre has specific policy that is posted and the director agrees to follow it, they are allowed to give notes when ever they want to.

Now, in my humble opinion, having a director pop into one performance after a run of any length and start giving notes can be problematic - in that they may just be reacting to one performance and one audience, and not know the arc or growth of a show (it could have been just one bad performance - or just the way one audience took it), but there are directors who like to come mid-run and give maintenance notes.

Now without a rehearsal call, or a posted notes session, the actor could easily say, "I don't have time time to listen to notes now", and politely walk out of the theatre - but that can a sticky situation.  I find that a director who gives notes or changes things is sort of being passive aggressive - in that by just giving notes without the benefit of conversation and/or rehearsal is taking away the option of an actor responding as an artist and belittles the rehearsal process.

1568

SMNetwork Archives / Re: Aging in stage management (those late 20's)

« on: May 29, 2009, 11:22 pm »

Or . . . being flexible enough to take what ever next step is handed to you.  It's difficult to plot the next step in a career where so many things are out of your control - and often to take a step forward, you might have to take a step back. 

1569

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

« on: May 27, 2009, 05:44 pm »

oddly, I just bought pizza for my crew . . . due to them having to work over dinner break.

1570

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

« on: May 27, 2009, 11:46 am »

I don't do it for every show, but I do usually try to take the crew out once - more for the social aspect of it.  I rarely go out after a show, so between shows, doing a quick dinner together is a great way to have some social time.

1571

Employment / Re: Moving for a Career

« on: May 26, 2009, 09:19 pm »

Most of the time on AEA contracts, I move into housing on Monday, before starting work on Tuesday.  I usually try to have at last one day free to get settled in, but sometimes travel plans don't align.

I also once had a plan booked for 11:30p, with a 10:00p show down.  They apparently wanted to get ride of me right away.  ;-)

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Employment / Re: Working in LA

« on: May 25, 2009, 10:10 pm »

Ironically . . .

I have found that when trying to get a job on the east coast, having west coast credits help.

When wanting to get a job on the west coast, east coast credits help.

When working in the middle of the country, working on either coast helps.

I think it's all a part of "grass being greener".

1573

Employment / Re: Moving for a Career

« on: May 23, 2009, 06:08 am »

I have actually made  a history of taking a gig in a new city, liking it so much, staying . . . I took one show in Dallas (moving from San Diego, CA) and turned it into three years work.  I left Dallas to do one show in Washington DC, and now, five years later, I am still here with little thought I will ever leave.  But, both times, the one time gig turned into a full time offer - so it wasn't like I was taking a huge risk or plunge.  (I am so about not taking huge risks with my career - I hate the whole concept of freelancing.)

When I moved to New York, I landed without a job or a place to live - and ended up in two weeks finding work and an apartment.  Although thrilling, it was a bit terrifying.  Luckily, I had worked line up outside of NYC, so I was never desperately hunting in NYC for any stretch in time.

Since I think this job is ALL about the networking, I find it a true act of career bravery to sort of pick and land in a new city with hopes to make it there.

1574

Employment / Moving for a Career

« on: May 22, 2009, 08:03 pm »

There comes a time in one's career where you may have outgrown your current market, or just be ready for a professional or personal change.

Let's exchange stories about those who have picked up and moved for a job, or just the hope of landing a job - not just for NYC,  but any city you may have moved for.  Did you already have a job lined?  A full time position or just one gig and hopes for more work in the city?  What about those who moved for an internship and ended up making that new city their home?  Or for those who took a an AEA job and ended up liking the new city enough to make it home.

1575

Employment / Re: Working in LA

« on: May 22, 2009, 07:22 pm »

What I find very interesting about, at least some of the living wage jobs in LA, is the theatres are VERY cliquey - although a lot of theatres are that way - it seems you have to wait for someone to die or move away to get a foot in the door.