1666
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 15, 2008, 10:13 pm »
Not to mention the number of Broadway shows closing.
Theatre is needing to reinvent itself.
Theatre is needing to reinvent itself.
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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1667
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 12, 2008, 02:16 pm »
Baltimore Opera declared Bankruptcy .
1668
Stage Management: Plays & Musicals / Re: Actor Cuts throat on Vienna Stage - BBC News
« on: Dec 11, 2008, 06:03 pm »
Wasn't that in the final episode of OZ?
The Props person should have checked.
The Deck SM should have checked.
The Actor should have checked.
The Props person should have checked.
The Deck SM should have checked.
The Actor should have checked.
1669
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Dec 05, 2008, 05:19 pm »
I guess there are different theories about what our job is . . . I think of myself as a part of an Artistic Team, as well as the production team, regardless of my being a resident SM or just a hired gun - I am hired by the producer to mount a production and get it open on opening night. If, for any reason, there is something that might prevent that issue, I feel like it would be sort of negligent on my part not to bring it to the producers light. And this can be for what ever reason - director's incompetence, not enough production support, etc, etc. Who I talk depends on the situation, and based upon your experience.
I think a lot of this has to do with you experience level and comfort level. I mean, you have to sort of know what an extreme situation is and when you should raise a red flag.
At some point, they are going to trust me to maintain the show artistically, so why not should I have an artistic opinion about the product I am working on?
NOW . . . again, I am a staff member of a large regional theatre, head of my department, and report not only to the production manager, but to the artistic director. I know my situation is not a typical SM. As far as experience, I just pasy my 20 year mark in the business. (Sigh, I am old)
I think a lot of this has to do with you experience level and comfort level. I mean, you have to sort of know what an extreme situation is and when you should raise a red flag.
At some point, they are going to trust me to maintain the show artistically, so why not should I have an artistic opinion about the product I am working on?
NOW . . . again, I am a staff member of a large regional theatre, head of my department, and report not only to the production manager, but to the artistic director. I know my situation is not a typical SM. As far as experience, I just pasy my 20 year mark in the business. (Sigh, I am old)
1670
Employment / Re: Location, Location, Location!
« on: Nov 23, 2008, 12:13 am »
I am in Washington DC - lots of theatre in town, but difficult to make a living unless you are in with one of the big, major theatres.
I move for a job, luckily I am able to spend quite a bit of time in one town.
I move for a job, luckily I am able to spend quite a bit of time in one town.
1671
Stage Management: Plays & Musicals / Re: Fight Call
« on: Nov 19, 2008, 10:28 am »
I agree with Ruth.
My thing is that fight call, since it comes out of the Actor's time (fight calls can infringe on breaks, etc), it's up to the Fight Captain to make the decision based on the cast. (So usually before the first show is down, I have my ASM check in with the fight captain so I can announce fight call or no fight call with my post-show announcements.
My thing is that fight call, since it comes out of the Actor's time (fight calls can infringe on breaks, etc), it's up to the Fight Captain to make the decision based on the cast. (So usually before the first show is down, I have my ASM check in with the fight captain so I can announce fight call or no fight call with my post-show announcements.
1672
Stage Management: Plays & Musicals / Re: Preshow 5 minutes
« on: Nov 15, 2008, 04:46 pm »
oh . . . then . . . any sort of those announcements would be a theatre by theatre issue; at our theatre, those are done by house management.
1673
The Hardline / Re: voting on AEA issues - unanimous vs majority
« on: Nov 11, 2008, 09:16 pm »
This is my ballot I use for equity, with the % needed - this is for LORT
AEA First Rehearsal Equity Ballot
The Option for a One-Hour Meal Break (During Rehearsal at the Rehearsal Hall):
In accordance with Rule 50-E-1, the company may reduce the regular 1 1/2 hour meal break during the rehearsal period to 1 hour.
Often actors prefer to do this as it reduces the span of day. The one-hour would be an option, and we would not always be taking a one-hour break.
____ Yes, I agree to the option to reduce the meal break to 1 hour.
____ No, I do not agree to reduce the meal break. I prefer a 1 1/2 hour break.
This option requires a 2/3-majority vote to pass.
The option for a One and 1/2 Hour Meal Break:
In accordance with Rule 50-E-3, the company may reduce the regular 2-hour meal break during the preview/performance period to 1 1/2 hours prior to the half-hour call. (Note during tech rehearsals, the break time only needs to be either 1 ½ hours or 1 hour depending on the previous vote.)
Often actors prefer to do this as it reduces the span of day. This would be an option, and we would not always be taking a 1 1/2 break.
____ Yes, I agree to reduce the meal break to 1 1/2 hour.
____ No, I do not agree to reduce the meal break. I prefer a 2-hour break.
This option requires a simple majority vote to pass.
The option for an Occasional Six-Hour Rehearsal Block:
In accordance with Rule 50-C-2, the company may agree to use a 6-hour rehearsal block only if it constitutes the entire schedule for the day and the cast is given at least 12-hours notice.
____ Yes, I agree to the use of the 6 hour rehearsal block.
____ No, I do not agree to the use of the 6 hour rehearsal block.
This option requires a 3/4-majority vote to pass.
The Option for a Week of Six-Hour Hour Rehearsals:
In accordance with Rule 50-C-2 (a), the company may agree to use a 6-hour rehearsal block six times a week, with an additional two hours a week allowed for costume or photo calls. These 38 hours would constitute the entire workweek.
____ Yes, I agree to the use of the week of 6 hour rehearsal blocks.
____ No, I do not agree to the use of the week of 6 hour rehearsal blocks.
This option requires a ¾ majority vote to pass.
The Option for a Rehearsal On A Two-Show Day
In accordance with Rule 50-C-4 a rehearsal may only be scheduled on a two-show day if it is not the only two-show day in the week, and the cast approves by a majority of a vote. Please note: that if we vote NOT to rehearse on a two-show day, rehearsal on a one show day may be increased to 5 ½ hours without a meal break, instead of the standard 5 hours.
____ Yes, I agree to a rehearsal during a two-show day, as allowed by rule 50-C-4.
____ No, I do not agree to a rehearsal during a two show day.
This option requires a majority vote to pass.
Do you agree to allow an archive videotape of a regularly scheduled performance per Equity rules?
____ Yes, I agree to allow a regularly scheduled performance to be videotaped for archival purposes.
____ No, I do not agree to the show being videotaped for archival purposes.
This requires a 3/4-majority vote to pass.
AEA First Rehearsal Equity Ballot
The Option for a One-Hour Meal Break (During Rehearsal at the Rehearsal Hall):
In accordance with Rule 50-E-1, the company may reduce the regular 1 1/2 hour meal break during the rehearsal period to 1 hour.
Often actors prefer to do this as it reduces the span of day. The one-hour would be an option, and we would not always be taking a one-hour break.
____ Yes, I agree to the option to reduce the meal break to 1 hour.
____ No, I do not agree to reduce the meal break. I prefer a 1 1/2 hour break.
This option requires a 2/3-majority vote to pass.
The option for a One and 1/2 Hour Meal Break:
In accordance with Rule 50-E-3, the company may reduce the regular 2-hour meal break during the preview/performance period to 1 1/2 hours prior to the half-hour call. (Note during tech rehearsals, the break time only needs to be either 1 ½ hours or 1 hour depending on the previous vote.)
Often actors prefer to do this as it reduces the span of day. This would be an option, and we would not always be taking a 1 1/2 break.
____ Yes, I agree to reduce the meal break to 1 1/2 hour.
____ No, I do not agree to reduce the meal break. I prefer a 2-hour break.
This option requires a simple majority vote to pass.
The option for an Occasional Six-Hour Rehearsal Block:
In accordance with Rule 50-C-2, the company may agree to use a 6-hour rehearsal block only if it constitutes the entire schedule for the day and the cast is given at least 12-hours notice.
____ Yes, I agree to the use of the 6 hour rehearsal block.
____ No, I do not agree to the use of the 6 hour rehearsal block.
This option requires a 3/4-majority vote to pass.
The Option for a Week of Six-Hour Hour Rehearsals:
In accordance with Rule 50-C-2 (a), the company may agree to use a 6-hour rehearsal block six times a week, with an additional two hours a week allowed for costume or photo calls. These 38 hours would constitute the entire workweek.
____ Yes, I agree to the use of the week of 6 hour rehearsal blocks.
____ No, I do not agree to the use of the week of 6 hour rehearsal blocks.
This option requires a ¾ majority vote to pass.
The Option for a Rehearsal On A Two-Show Day
In accordance with Rule 50-C-4 a rehearsal may only be scheduled on a two-show day if it is not the only two-show day in the week, and the cast approves by a majority of a vote. Please note: that if we vote NOT to rehearse on a two-show day, rehearsal on a one show day may be increased to 5 ½ hours without a meal break, instead of the standard 5 hours.
____ Yes, I agree to a rehearsal during a two-show day, as allowed by rule 50-C-4.
____ No, I do not agree to a rehearsal during a two show day.
This option requires a majority vote to pass.
Do you agree to allow an archive videotape of a regularly scheduled performance per Equity rules?
____ Yes, I agree to allow a regularly scheduled performance to be videotaped for archival purposes.
____ No, I do not agree to the show being videotaped for archival purposes.
This requires a 3/4-majority vote to pass.
1674
The Hardline / Re: Actor Notes - After opening
« on: Nov 11, 2008, 04:55 pm »
I found one of the best things to do before a director leaves a show is for you and the director to take a little walk and discuss what areas they want you to keep and eye on, what they are worried about for the run, what areas need to continue to grow, and what areas are perfect the way they are.
I found the best way to maintain a note is set up the dialogue between yourself and actors from the get go - during previews, me and my team go to the actors and ask if they have any notes - so, if there were issues we need to work the next day, we can incorporate their notes into our work list. Then, as performances go in, a member of SM will say good night/check in with each cast member, if we have notes to give, we will - if it's minor - give it then, if it's major, we will ask them to stop by the SM office. I find the best way to deal with any sort of actor note is to separate the note from the actor - don't start off with "You did something that was wrong.", but "There was something off" - letting the actor take the initiative in taking ownership of the issue, give their explanation, and present a solution. (Often, the actor will self correct when called out). At the end of the conversation, hopefully we will have solved the issue to my satisfaction - or - if we can't agree on a solution - then, at the end of the day, the note that wins is mine. But so much better if the note is solved by the actor to my satisfaction with doing nothing more then pointing out the issue - and letting the actor know there is a problem.
If I have full cast notes or notes for a large group, I will type them up and have them waiting in an envelope - with the note to see me if they have any questions or concerns.
I found the best way to maintain a note is set up the dialogue between yourself and actors from the get go - during previews, me and my team go to the actors and ask if they have any notes - so, if there were issues we need to work the next day, we can incorporate their notes into our work list. Then, as performances go in, a member of SM will say good night/check in with each cast member, if we have notes to give, we will - if it's minor - give it then, if it's major, we will ask them to stop by the SM office. I find the best way to deal with any sort of actor note is to separate the note from the actor - don't start off with "You did something that was wrong.", but "There was something off" - letting the actor take the initiative in taking ownership of the issue, give their explanation, and present a solution. (Often, the actor will self correct when called out). At the end of the conversation, hopefully we will have solved the issue to my satisfaction - or - if we can't agree on a solution - then, at the end of the day, the note that wins is mine. But so much better if the note is solved by the actor to my satisfaction with doing nothing more then pointing out the issue - and letting the actor know there is a problem.
If I have full cast notes or notes for a large group, I will type them up and have them waiting in an envelope - with the note to see me if they have any questions or concerns.
1675
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Nov 11, 2008, 04:26 pm »
Scooter's analogy is an extreme example of the situation, but oddly I have been in very similar situations - unsafe set design and inappropriateness on a show that is schedule to have multiple school performances.
I think the core question at the heart is, is there ever a point when you are watching the show where it might be so BAD, so different then what is being advertised, so different then what the artistic director/producer are expecting - do you feel have the responsibility to speak up? How you speak up is the next step - and most of agree, that really want you would prompt is either the artistic director/producer coming to rehearsal, or, at the very least, starting a conversation.
Now, there may also be a situation where both you and the director agree the show is going bad - wrong casting - bad scenic design - not enough rehearsal time - whatever - it may not be a situation where you are "snitching" on the director . . . .
(I know that I come from the perspective of being NOT a free-lance SM, but a resident SM, and have a very big investment in the theatre, not always the director.)
I think the core question at the heart is, is there ever a point when you are watching the show where it might be so BAD, so different then what is being advertised, so different then what the artistic director/producer are expecting - do you feel have the responsibility to speak up? How you speak up is the next step - and most of agree, that really want you would prompt is either the artistic director/producer coming to rehearsal, or, at the very least, starting a conversation.
Now, there may also be a situation where both you and the director agree the show is going bad - wrong casting - bad scenic design - not enough rehearsal time - whatever - it may not be a situation where you are "snitching" on the director . . . .
(I know that I come from the perspective of being NOT a free-lance SM, but a resident SM, and have a very big investment in the theatre, not always the director.)
1676
Employment / Re: Resume question--current show
« on: Nov 11, 2008, 04:20 pm »
I do put the date of shows in the future . . . . (like spring 2009) for example.
Gives one a sense of projects upcoming as well.
Now, if you want the option to back out of future projects for a better gig, then I would not list them.
Gives one a sense of projects upcoming as well.
Now, if you want the option to back out of future projects for a better gig, then I would not list them.
1677
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Nov 10, 2008, 03:43 pm »
At the end of the day, I don't work for the director, I work alongside the director. My producer is the one who hires me, the producer is the one I work for.
What if the producer comes and asks you for their opinion?
(I know I am in a very different situation in that I am a resident production stage manager - where it's very apparent I work for the theatre)
What if the producer comes and asks you for their opinion?
(I know I am in a very different situation in that I am a resident production stage manager - where it's very apparent I work for the theatre)
1678
The Hardline / Re: LORT Solicitation
« on: Nov 10, 2008, 04:34 am »
and if have ideas, but don't want to post publicly, where is the best place to submit.
1679
Stage Management: Plays & Musicals / JOB DESCRIPTION: When the show is going bad
« on: Nov 09, 2008, 07:48 pm »
So, you are sitting in rehearsal for a show, and you get the growing feeling the show is going to be bad. Maybe really bad. Or maybe just not what the producer was looking for. Or the director is taking the show to a really bad place. Is it part of your job to alert the producer/artistic director?
Just wondering people's thoughts about this - since often our job is to maintain the show, but rarely do we get a chance to make it better.
Just wondering people's thoughts about this - since often our job is to maintain the show, but rarely do we get a chance to make it better.
1680
Tools of the Trade / Re: Road Cases for a kit?
« on: Nov 07, 2008, 02:14 pm »
If you have so much stuff, it's probably best to get it custom made.