1771
Stage Management: Plays & Musicals / Re: Taping the Prop Table
« on: Jul 07, 2008, 07:13 pm »
You arrange it the way that makes the most sense for how it is use and what props are on it.
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1772
Stage Management: Plays & Musicals / Re: Timing question
« on: Jul 07, 2008, 03:02 pm »
It depends on the need of the shows.
Is there a quick change or scene change you are worried about the time? Then start timing from the read thru.
Otherwise, i would wait for runs.
Is there a quick change or scene change you are worried about the time? Then start timing from the read thru.
Otherwise, i would wait for runs.
1773
Employment / Re: Stage Management Salary
« on: Jul 01, 2008, 12:26 am »
I think that's an amazingly good point about the sometimes feast or famine in this business. (it's one of the reasons I don't freelance . . . granted I may make a little less then production contract, but I know what I am doing two years out . . . it's a trade off.)
1774
Students and Novice Stage Managers / Re: Need college advice
« on: Jun 29, 2008, 11:13 pm »
A good undergrad program should not impossible to get in without extensive experience, but you should go ahead and contact the university and explain your situation.
I would expect you would assist for a year or two as an undergrad anyway, before being given shows.
I would expect you would assist for a year or two as an undergrad anyway, before being given shows.
1775
Articles from the Old Site / Re: Unpaid/Underpaid Positions
« on: Jun 29, 2008, 05:18 pm »
And SPT . . . I pay my PA's more then many AEA SM's make in Washington DC.
I thought that all theatres had woken up to the reality that stage managers are not technically managers (we don’t hire and fire, we don’t set our own schedule, and a host of other issues) in the exempt/non-exempt touch stone, and if not AEA, they would need to be paid hourly, with overtime.
Unfortunately, I think it's market driven to a certain extent, and then sort of the accepted norm to a certain extent.
If I need a stage manager, and I offer $100.00 and find someone, then the next time, I may try to get away with $90.00 and see what happens. Part of the solution is for us not to take the low paying jobs.
The other thing is that we are sort of sold on the fact of the myth of the suffering artist - we need to need to suffer for our art, we need to work for nothing in hopes to get experience to get a paid job, etc, etc - we actually are enabling theatres to produce without paying a living wage – and people do this for years. (NYC seems to be the worse, with people doing workshops after workshops getting paid NOTHING to do an entire show – I did one workshop for a fairly established theatre company in NYC – and quickly realized the scam of showcasing.)
Go to school. Get an internship, and then wake up to the reality that this is a job, and you need to get paid for it. Yes, there is going to be a period where the pay is going to be crap, but never let yourself be taken advantage of. Producers need to learn that if they want someone full time, they need to pay full time (and this is not just a non-union issue, there are SPT contracts where the pay you could never live on).
In the end, if this is a career, you need to make calculated decision about home much time and money you are going to invest into your business (doing a show instead of paying job is in an investment in you $400.00 a week + Health Care working at Starbucks a week versus $100.00 and no health care to do a non-equity show means that you are hoping sometime down the line to make up that $300.00 + Health Care costs.)
And, the industry as a whole, needs to learn to stop take advantage of people early in the career.
I thought that all theatres had woken up to the reality that stage managers are not technically managers (we don’t hire and fire, we don’t set our own schedule, and a host of other issues) in the exempt/non-exempt touch stone, and if not AEA, they would need to be paid hourly, with overtime.
Unfortunately, I think it's market driven to a certain extent, and then sort of the accepted norm to a certain extent.
If I need a stage manager, and I offer $100.00 and find someone, then the next time, I may try to get away with $90.00 and see what happens. Part of the solution is for us not to take the low paying jobs.
The other thing is that we are sort of sold on the fact of the myth of the suffering artist - we need to need to suffer for our art, we need to work for nothing in hopes to get experience to get a paid job, etc, etc - we actually are enabling theatres to produce without paying a living wage – and people do this for years. (NYC seems to be the worse, with people doing workshops after workshops getting paid NOTHING to do an entire show – I did one workshop for a fairly established theatre company in NYC – and quickly realized the scam of showcasing.)
Go to school. Get an internship, and then wake up to the reality that this is a job, and you need to get paid for it. Yes, there is going to be a period where the pay is going to be crap, but never let yourself be taken advantage of. Producers need to learn that if they want someone full time, they need to pay full time (and this is not just a non-union issue, there are SPT contracts where the pay you could never live on).
In the end, if this is a career, you need to make calculated decision about home much time and money you are going to invest into your business (doing a show instead of paying job is in an investment in you $400.00 a week + Health Care working at Starbucks a week versus $100.00 and no health care to do a non-equity show means that you are hoping sometime down the line to make up that $300.00 + Health Care costs.)
And, the industry as a whole, needs to learn to stop take advantage of people early in the career.
1776
Employment / Re: Stage Management Salary
« on: Jun 29, 2008, 01:41 pm »
That's a good point . . . I guess it would be good to know what your average weekly for an average year - I just thought it would be interested to get a rough average, since it is often a question asked by young stage managers.
I know not everyone has a constant and are not blessed/cursed being a resident at a regional theatre or on a long running production contract.
I know not everyone has a constant and are not blessed/cursed being a resident at a regional theatre or on a long running production contract.
1777
Employment / Re: Stage Management Salary
« on: Jun 28, 2008, 09:32 pm »
Yes, there does come a point when you have a lifestyle that does require that higher pay scale. I like paying my bills, putting away savings, paying rent . . . etc.
1778
Employment / Stage Management Salary
« on: Jun 28, 2008, 07:01 pm »
Since we starting to talk about not getting paid enough for full time work, thought I would just sort of ask who is making what?
1779
Stage Management: Plays & Musicals / Re: Spike Marks on Carpet
« on: Jun 28, 2008, 12:51 pm »
Yeah, I still think painting the carpet is going to be you best answer - or if the carpet isn't laid, pulling through a small piece of fabric through the backing of the carpet - think how you spike rope at the rail, but apply it to carpet . . . doing something like that may help.
1780
Stage Management: Plays & Musicals / Re: Spike Marks on Carpet
« on: Jun 28, 2008, 11:24 am »
Is this for crew pre-show set up? Or is this for during show changes?
1781
Stage Management: Plays & Musicals / Re: Spike Marks on Carpet
« on: Jun 27, 2008, 05:42 pm »
Spike tape for the short term, then I would suggest paint pen or sharpie.
(I guess it depends on the pile.)
(I guess it depends on the pile.)
1784
SMNetwork Archives / Re: Aging in stage management (those late 20's)
« on: Jun 25, 2008, 08:24 am »They have no respect for me or my work.....Often they don't even have respect for the director or the venue... They blow off everything I say. It is really frustrating.
Although this may be a specific problem at your age in community theatre, you will find this attitude all the way up to professional theatre. On my current project there are actors who have no respect for the director, venue, production or fellow actors.
Just because people are paid, doesn't mean they act professional.
1785
SMNetwork Archives / Aging in stage management (those late 20's)
« on: Jun 23, 2008, 08:28 pm »
I used to think Stage Management was a younger person's job - the hours, the stamina, the amount of bulls**t you have to deal with - then I got older. Now I see the benefits of age in this position.
Recently when talking to a young stage manager who is just starting their career, I realized that there is an odd sort of built obstacle in this career - starting out young, with less experience in your back pocket, I think I had to work HARDER at being a good stage manager (I am not saying it's easier now, I just think with my experience there are things that come easier to me.). Stage Management in my 30's is easier then stage managing then my 20's (and I am working on much more complex shows).
I think that a lot of young stage managers may get burnt out in the career before they get to a point where they are making a nice living wage and where the job comes easier based on experience.
I was wondering if there was any 30+ stage managers who maybe able to throw out some advice how they made it through those years.
For me personally, it was those years where I went to grad school . . . I had been stage managing for about 5 - 6 years professionally, but non union (You know those 150 to 500 a week jobs . . . no union protection, summer stock type jobs). It was nice to spend three years where I didn't have to look for a job, and I was able to concentrate on improving my skills. It also helped jump start my career and put in touch with a lot of networking - that helped me break out out of the circles I was in. Since grad school I have kept working and am now I working at a very nice level.
What was your success story to get through those late 20's. What advice would you provide to help people out of that mid-career stall?
Recently when talking to a young stage manager who is just starting their career, I realized that there is an odd sort of built obstacle in this career - starting out young, with less experience in your back pocket, I think I had to work HARDER at being a good stage manager (I am not saying it's easier now, I just think with my experience there are things that come easier to me.). Stage Management in my 30's is easier then stage managing then my 20's (and I am working on much more complex shows).
I think that a lot of young stage managers may get burnt out in the career before they get to a point where they are making a nice living wage and where the job comes easier based on experience.
I was wondering if there was any 30+ stage managers who maybe able to throw out some advice how they made it through those years.
For me personally, it was those years where I went to grad school . . . I had been stage managing for about 5 - 6 years professionally, but non union (You know those 150 to 500 a week jobs . . . no union protection, summer stock type jobs). It was nice to spend three years where I didn't have to look for a job, and I was able to concentrate on improving my skills. It also helped jump start my career and put in touch with a lot of networking - that helped me break out out of the circles I was in. Since grad school I have kept working and am now I working at a very nice level.
What was your success story to get through those late 20's. What advice would you provide to help people out of that mid-career stall?