Messages

1636

Students and Novice Stage Managers / Re: MFA program at UC Irvine

« on: Feb 05, 2009, 07:25 am »

That's good to know.  Some students I know who have gone through the program seemed never to teach, but did more RA-Ships.

When I was applying to grad schools, UCI was the weaker of the the programs I was seriously considering (UCSD, Yale, Rutgers, Iowa), it didn't help I didn't part of my undergrad there.  The program was lead by a different person at the time, so I know a lot has changed.  I did end up going to UCSD, and I remember my third year went did seminar one week at UCI with their students, and vice versa. I remember not being too impressed by the program at that time, but I know there was some healthy competition.

I have not run across many working SM's that hail from the program.

I would not bank that the you are safely into the school until they say yes - and I would not bank it's the right school for you until you get out there and see the school.

1637

Students and Novice Stage Managers / Re: MFA program at UC Irvine

« on: Feb 05, 2009, 01:44 am »

regarding uci . . . .do you know if you will get teaching experience?

1638

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Feb 01, 2009, 05:55 pm »

I actually find that most regional theaters have the notes in too wide of a distribution - I am pretty sure we when had to stop running them off and could just add people to an e-mail list, it became easier to add the gift shop manager, the rental manager, etc, etc.

The last thing I want to do is censor my production report writing, but I at times do find myself editing and reediting a note of (somewhat) confidential nature or that is just a delicate nature.  For example, recently, in a performance a report, a mis-entrance was noted, and then someone from the LX department, seeing the actor, made a joke to him about the missed entrance.  It was all a good nature ribbing, but it did warrant an e-mail that the information in the report should be considered confidential.  Noting actor's lateness (to leave a paper trail), frustration with a prop not working, etc, etc, etc, are all sort of COMMON notes, that perhaps should not be read by everyone in the cast and should not be discussed - at not posted on the call board (if we did that, I would have two reports).

1639

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Feb 01, 2009, 11:32 am »

I would never send them to the cast.

I do send them to crew heads, but not all run crew - as I do include run book notes in the report.

1640

Employment / Re: Blacklist of companies for SMs?

« on: Jan 31, 2009, 07:40 pm »

I would have a problem with this feature - as it turns into a he said/she said situation.  And I would rather see the SMNetwork sort of stay above frays like this.  I would rather see things like "Has anyone worked for . . . ", and have people respond via direct messages. 

1641

Employment / Re: Sending resume/cover letter to Broadway shows?

« on: Jan 27, 2009, 12:28 pm »

Just know that a lot of PA positions are actually held by young AEA SM's.  Often time, AEA SM's will take a PA position in hopes to get bumped up to replacement SM's or sub on the show.  I know many of AEA SM who takes these PA positions in hopes to get an inside track to the a Broadway gig.

1642

College and Graduate Studies / Re: Grad school vs. intern

« on: Jan 25, 2009, 02:22 pm »

A lot will depend on the REASONS you are considering getting a graduate degree.

I am a huge proponent of leaving your undergraduate education and getting some real world experience under your belt before you return to grad school.  I have some pretty strong reasons for this.

One, the job and lifestyle of a professional stage manager is vastly different then the world of stage managing a show in an educational setting.  But getting an internship or getting work experience, you are going to get a better sense of the job and the lifestyle that goes with it. 

After gaining experience and getting a sense of the real world requirements of the job, you will know what skills you are lacking – which will help you pick a grad school.  (If you do not what skills you are lacking, how do you pick a grad school.)

Also, grad schools, form my experience, favor accepting students that have some real world experience.  Also, in my experience, students that have more experience and maturity (the age factor) are more successful in grad school.
I also think having a year or two break from the academic world is nice . . . seven years straight for a BA/MFA combo is pretty harsh.

Now, the argument to go straight to grad school should also be considered.  One, having the momentum going helps launch you into grad school.  Two, once you get out of school and into the real world, it will be harder to put your career on pause and step back into the academic world.  Three, if you heart is set on getting a master’s degree (for whatever reason), you might get out into the real world and realize that you don’t need the degree . . . and then it’s really hard to go back.

1643

Students and Novice Stage Managers / 2009/2010 Stage Management Internships for The Shakespeare Theatre Company

« on: Jan 25, 2009, 10:51 am »

The Shakespeare Theatre Company in Washington DC, a LORT B+ Regional theatre specializing in classical theatre, is starting to look for 2 (possibly 3) stage management interns for the 2009/2010 season.

Stage management interns work as part of 4 or 5 person SM team, and will be assigned a variety of duties in rehearsal, tech and performance.  Shows are large classical works - in the past with casts up to 50 people and technical, complicated productions. 

Ideal candidate has a willingness to learn, strong team member skills, strong leadership abilities, strong experience in stage management in university or equivalent experience.  Sense of humor and strong people skills are a must.  Strong eye for details, especially in paperwork needed.

As I run the stage management program, I can answer any basic questions, but for more info, follow the link below . . .

More info http://www.shakespearetheatre.org/education/training/internships/index.aspx

Live.
-In Washington, DC, a vibrant city with a thriving cultural scene
-In fully-furnished apartments located on historic Capitol Hill, provided by STC
-Receive $150 weekly to cover living expenses
-Get up close and personal with designers, cast and crew of STC productions and programs during First Rehearsal presentations, Invited Dress Rehearsals, Opening Nights and other exclusive events at the Harman Center for the Arts

Learn.
-Gain invaluable experience working in a major LORT B+ Equity theatre featuring the brand-new, state-of-the-art, 775-seat Sidney Harman Hall
-Engage in seminars led members of our senior staff, including Artistic Director Michael Kahn
-Hone your craft through hands-on, practical experience
-Bridge the gap between your academic experience and a career in professional theatre.

Work.
-With nationally and internationally renowned theatre artists and professionals
-Contribute to the diverse and thriving community of artisans and administrators at the foremost classical theatre in the United States
-Make lasting connections in the industry

Administrative Internships:
Company Management
Development
General Management
Education – Community Programs
Education – School Programs
Graphic Design
Public Relations/Marketing
Production Internships:
Costumes
Lighting
Production Management
Sound
Stage Management
Stage Properties
Acting Fellowships

Artistic and Directing Fellowships

To apply for an internship or fellowship (non-Acting), please send completed application, résumé, portfolio or writing samples, and two letters of recommendation to:

Internships
Shakespeare Theatre Company
516 8th Street SE
Washington , DC 20003

1644

The Hardline / Re: Half Hour Call

« on: Jan 19, 2009, 07:53 pm »

My understanding is half-hour is only for performances.

I give it for performances and all dress/tech runs.

We give "half-hour" for all tech periods, but it usually ends up being longer - I tend to work on big, big period shows, where getting 30 people into costume, wigs and make-up - where we don't get half-hour down until we get to previews.  (Also, we usually call non-equity actors before half-hour, which we don't start until we are in previews.)

I often actors when give a half-hour, stand around and then get dressed in 5 minutes.  So, if, during tech, I am starting with a two person scene, I will often get them into costume as quickly as possible and then start. 

But technically, tech rehearsals are just like any other rehearsal, and my understanding is you don't need to give a half-hour.

1645

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

« on: Jan 19, 2009, 01:19 pm »

The Met is also in trouble . . . and when the Met is in trouble, the whole world should be shaking . . .

From the NY TIMES
January 16, 2009
Metropolitan Opera Faces Cuts, Its Leader Says

By DANIEL J. WAKIN
Just as it was riding high in the opera world, the Metropolitan Opera has been bludgeoned by the recession and now faces a “disaster scenario” unless the company finds major cost cuts, including concessions from its powerful unions, the Met’s general manager, Peter Gelb, said on Thursday.

Its once-mighty endowment of more than $300 million has dropped by a third, to a point where it cannot be drawn from; donations are down by $10 million this season; and ticket sales are expected to be off by several million dollars from what was expected, Mr. Gelb said in an interview.

Mr. Gelb said that he and senior staff members have taken a 10 percent pay cut and that the rest of the staff would do so at the end of the fiscal year, which concludes after the season. He said at least four expensive productions have been canceled or replaced next season as well.

Without drastic action across the board, he said, shortfalls could reach “double-digit” millions of dollars next season. One person who attended a meeting with Mr. Gelb and spoke on condition of anonymity to avoid jeopardizing any future talks said he used the hypothetical figure of a $40 million deficit. This season’s budget is $291 million.

The good news? The Met has scrapped plans for a cumulative 8 percent increase in ticket prices. “We think people can’t afford them,” Mr. Gelb said. Ticket prices now range from $15 to $375. But the decision also means less revenue.

Mr. Gelb delivered the dire message over the past seven days to all 16 of the Met’s unions, and outlined the situation at a regularly scheduled board meeting on Thursday. He said he would address the entire company on Friday in the Met’s auditorium.

“The economic crisis has had an effect on all cultural institutions, and the Met is no exception,” Mr. Gelb said. “It’s affected our endowment, it’s affected our cash flow, it’s affected our revenue streams. What we don’t want is for it to affect our artistic productivity.”

Opera companies, orchestras and most other performing-arts institutions around the country are facing similar problems as ticket buyers are opting for cheaper nights out, foundations have less to give and the wealthy upon whom high art depends are looking at shriveled portfolios.

Mr. Gelb said that thanks to $7 million in administrative cuts this year and support from board members, the Met expects to meet its planned budget goal of a slightly less than a $2 million deficit this year. But the situation will become dire next season without cost savings, he said.

“We’ve asked the unions to work together with us to meet this challenge,” Mr. Gelb said. “If the word is concession, then say they’re concessions. I think the unions and the larger family of the Met believes in the Met as an institution. My belief is they will want to do what is right to keep the Met a vibrant, thriving organization.” Mr. Gelb said he would also ask principal singers to take a reduction in fees.

Two people who attended the meetings and spoke on condition of anonymity because the talks were considered confidential said Mr. Gelb asked for 10 percent pay cuts from the unions for each of the next two years.

The New York City Opera, also in big economic trouble, has said it would seek union concessions as well.

The three main unions at the Met represent the orchestra, the chorus and the stagehands. Through a spokesman, officials of Local 1, the stagehands union, declined to comment, as did the chorus members union, the American Guild of Musical Artists. Members of the orchestra’s leadership committee did not immediately return phone messages on Thursday. It was probable that the unions would ask to examine the company’s books before agreeing to any givebacks.

The crunch comes just as Mr. Gelb was to announce the first season programmed on his watch. He took over as general manager in the fall of 2006, and extended the company’s reach through movie-theater broadcasts and the Internet, brought in a bevy of new directors and new productions and raised the star quality of its singers. Mr. Gelb said ticket sales were still stronger than what they were before he took over, pointing out that 21 of 32 performances in December were sold out.

The money woes put a damper on his plans for next season. The planned revival of John Corigliano’s “Ghosts of Versailles” has been canceled, to be replaced by “La Traviata.” Another expensive revival, “Benvenuto Cellini” by Berlioz, has been sidelined. “It’s a great sacrifice, frankly, because it’s a great piece of repertory,” Mr. Gelb said. Its loss was also a blow to James Levine, the music director, who holds Berlioz dear.

Revivals of “Lady Macbeth of the Mtsensk District” by Shostakovich and “Die Frau Ohne Schatten” by Richard Strauss are being replaced by two other Strauss operas: “Ariadne auf Naxos” and “Elektra,” respectively.

“When I took this job, I didn’t expect this to happen,” Mr. Gelb said. “Because of all the success the Met has had in the past couple of years, we’re in a better position to face this challenge than we were otherwise. When you go to the hospital for an operation when you’re fit, you recover faster.”

1646

College and Graduate Studies / Re: Syracuse University?

« on: Jan 18, 2009, 03:17 pm »

Have you contacted the school to get a list of current students and recent alumni?  Be weary of a school that doesn't have a good reason to hook you up with students.

1647

Stage Management: Plays & Musicals / Re: Reading a play for the first time

« on: Jan 18, 2009, 03:23 am »

I try to avoid reading the play, and wait for first read thru to get the full effect.

(Oddly, I still "read" the play for paperwork, but it something else entirely.)

Why ruin the surprise by reading the play ahead of time.  God knows I am going to see it enough.

1648

Stage Management: Plays & Musicals / Re: The unwilling crew

« on: Jan 16, 2009, 02:44 pm »

Ultimately, regardless of a person volunteered or being paid a very good salary, it becomes the manager's job to motivate them - if it is the stage manager or the stage operations manager or whomever, you will always have to find a way to motivate an crew member.

In working with any person, I find it key to find out "why" they are doing the job (crew position, internship, whatever)?  It's easier to manage someone if you know what they are getting out of it.  You may also find that perhaps you may have to reshuffle duties a bit until you find the right person for the right job.  I do have to admit that early in my career, when working for these types of situation, it was often easier to just do it myself, rather then deal with crap of the crew - and, more often then not, they would finally take over - seeing how much more I had to do then the post or pre-show set up.

1649

Stage Management: Plays & Musicals / Re: Artistic Integrity?

« on: Jan 15, 2009, 09:55 pm »

On the flip side, speaking as someone who does ALOT of classical theatre (So much, I am changing my middle name to Shakespeare), you can read the script, and be totally blindsided by the director's concept.

1650

Stage Management: Plays & Musicals / Re: Artistic Integrity?

« on: Jan 15, 2009, 02:07 pm »

I think as far as artistic integrity, you have to learn as a stage manager to separate yourself from the artistic merit of a show - you have no control of it, so you have to learn how to get job satisfaction out of the project.  (Seriously, how many shows start out good and then tank?  - what are you going to do, quit?

As far as working on shows about certain material, that is something you learn where your boundaries are - I personally have very little personal boundary issues - so there is very little material I wouldn't work on - but I am finding, as my career goes on, it's about people I want to work with or not work with - not necessarily the material.