Messages

1711

The Hardline / Re: LORT - Rehearsal Questions

« on: Sep 30, 2008, 07:19 pm »

Yeah, this is one of those cases I don't want to go to the rep . . . I like my reading of the rules, and think it hits all the points.  (I really want to start rehearsal at 10:30a.)  I don't want the rep to give a ruling (and in this case, I am pretty sure it would be a ruling and not just re-reading me the rules) that goes against the word of the rules which supports my plan.

(Sometimes you go to the rep, sometimes you don't wanna)

1712

The Hardline / LORT - Rehearsal Questions

« on: Sep 30, 2008, 05:55 pm »

Here is the situation . . .

Going into a situation where we are running one show, and seven members of the cast are going into rehearsal for the next show; what we refer to as a roll over situation.

The show runs under three hours, they are going to elect NOT to rehearse on a two show day, so that gives me the 5.5 hours option.

Now, this is a very specific question, and I will need you to cite the rule with your answer.

If we are to rehearse before a performance, 5.5 hours, at what time can that rehearsal begin if the show gets out at 10:00p the night before?

Can I start at 10:00a and rehearse until 3:30p? 

It satisfies both the 12 hour span of day and 12 hour turn around.

50(C)(1) would be satisfied due to the fact REHEARSAL does not extend past the 8 out of 10 consecutive hours.

50(C)(6)(f) Says REHEARSAL has to be consecutive, but says nothing about the the relationship to rehearsal to performance.

50(E)(3) - Doe this rule mean the break can not be MORE then 2 hours?  This is the only rule that would foil the plans about starting earlier then 11:30a. 

Actual Wording . .  .

(3) There shall be a break between the rehearsal, photo/costume, and half-hour call.
There must be a cast vote, majority controlling, indicating whether such break shall be
1½ or 2 hours, except no break shall be required should the only rehearsal call for the
day be for one hour or less provided the Theatre schedules it just prior to half-hour and
provided that in each instance there is a unanimous, secret ballot cast vote from each
Actor involved in the rehearsal.

50(E)(4) - Describes the OPPOSITE of what I am doing - the rule applies to rehearsal after performance - I am looking for rehearsal BEFORE performance.

Anyone been in this situation?

Any thoughts?

1713

Students and Novice Stage Managers / Re: Script requests: Bye Bye Birdie Script!!!!!!!!!!! HELP!

« on: Sep 30, 2008, 01:28 pm »

Be Elvis.

1714

Stage Management: Plays & Musicals / Re: Overly Involved Playwright

« on: Sep 30, 2008, 10:35 am »

It seems that the director should have final say, with a major reason being the cast should only be getting direction from the director. They shouldn't be getting guidance from the producer, playwright, stage manager, or other actors.

I think the issue is he is not just the playwright, he is the primary producer - he is the money. 

There are situations where actors get notes from a variety of people - for example, they could be getting notes from a director, a vocal coach, a choreographer and an AD, and a stage manager.  So at the end of the day, actors are used to get notes from a variety of people.  The issues arise when they get conflicting notes - and at the end of the day, it's the director's job to trump it all.

I was in this situation at a major regional theatre working on a show that was Broadway bound . . . and the playwright had put a bunch of money in it. 

In the end, we viewed it as a director/assistant director thing, and moved on.  If there ever was a serious disagreement, the two would go off on talk and come up with solution that worked best for them.

I honestly think the director and playwright need to find a way to work together, and not sure if there is anything the Stage Manager can do to make the two play together, other then perhaps initiate a dialogue.

As you continue to move up the ladder of theatre, you will often times work on shows where the director is NOT the person who is the top of the totem pole, and it is a smart SM who learns who the top dog in the production is.  (I know of shows where the lead actor were the tall man, and the director hired was just a mouth piece for him.  The choreographer was the person who was "directing" the show the most.)

In the end, although it's not ideal, the guy who signs the checks can make the rules.

1715

Stage Management: Plays & Musicals / Re: Overly Involved Playwright

« on: Sep 30, 2008, 08:26 am »

if he is the playwright and the producer, he is the biggest gun in the room.  (as producer, he trumps the director).
I know it's frustrating, but it's a situation that really the director and playwright need to work out if they feel there is tension.

1716

Employment / Re: Questions You Shouldn't Ask At The Initial Interview

« on: Sep 29, 2008, 03:22 pm »

I think there are questions one may ask that would make you look naive or non-experienced.

Questions that point out a lack of research on your part about the theater you are applying to could be problematic.

1717

Tools of the Trade / Re: Help with my book please.

« on: Sep 29, 2008, 11:51 am »

A kick-*** book does not a great stage manager make.

1718

Employment / Re: For employers: When do you call references?

« on: Sep 02, 2008, 06:11 pm »

"But I have never seen anyone who would put a reference down who would speak badly of said person."

I have been on both sides of this.

Have called a reference who, with in all legalities, basically said the person was a huge screw up, and didn't think they could handle the job, and was upset they were used as a reference.

I have also been put down as a reference for a person I would consider a DNH (Do not Hire).

1719

Stage Management: Plays & Musicals / Re: NY Cell Number?

« on: Sep 02, 2008, 09:15 am »

I actually think having a New York number is important if you are trying to establish yourself in New York City - there is a hierarchy of the New York numbers, but having a 212 number is sort of a status symbol in some circles.

If you are trying to establish yourself in New York, you might want to look into it - it does look like you have been in NYC for awhile and establishing yourself as a New Yorker.

Good luck on the move to New York.

1720

Employment / Re: For employers: When do you call references?

« on: Sep 01, 2008, 02:36 pm »

I tend to call references after a first interview.  Calling references is a large time and energy drain, so I want to make sure I feel the person is qualified, I like their personality, and they are available.

Then I would call the reference.

1721

The Hardline / Re: Trying to explain LORT scheduling rules to actors

« on: Aug 31, 2008, 08:38 am »

ps

should be getting feedback from some actors today -I will try to post their comments

1722

The Hardline / Re: Trying to explain LORT scheduling rules to actors

« on: Aug 31, 2008, 08:37 am »

You may want to spell out here that rehearsal hours are not set in stone, and can change or be set with as little as 12 hours notice.   Some of the scheduling questions may stem from actors trying to fit in other commitments, so it could be helpful for them to know that unless they have a pre-approved conflict, they need to be fully available for the show every day except the Designated Day Off.  Also, you might want to make "broken down" a little clearer.  I know what you mean, I'm not sure how it reads to actors. 

Let me figure out who to word that.  The current batch of actors are more concern about # of hours and overtime, then  scheduling the day - and we do beat the mantra of them being available for all rehearsals - but let me thing about it.

1723

The Hardline / Re: Trying to explain LORT scheduling rules to actors

« on: Aug 31, 2008, 08:35 am »

Thanks Ruth for the Math catch.

Yes, the example I want should show an 11:00a ending, and then adjust the 12 hour turn around.

11:00a   Costume Fitting
12:00n    Rehearsal
5:30p   End of Rehearsal

7:30p   Half-hour
8:00p   Performance
11:00p   End of the Day

1724

The Hardline / Re: Trying to explain LORT scheduling rules to actors

« on: Aug 31, 2008, 08:32 am »

Ah ....

Rollover is a STC term.  Performing in one show, rehearsing the next.

1725

The Hardline / Re: Trying to explain LORT scheduling rules to actors

« on: Aug 30, 2008, 01:48 pm »

yeah, that is happening as well . . . handing it two actors who understand the rules and two who don't and see what happens.