Messages

181

The Hardline / Re: Unions and Circus/Cirque

« on: Apr 05, 2013, 09:26 am »

Here's what AEA says, on the website, as of 2013. 

http://actorsequity.org/NewsMedia/misc/ToWorkOrNotToWork.asp

182

Employment / Re: Telephone Interviews

« on: Apr 03, 2013, 10:42 pm »

Who did you do that to, Matthew?

and there is the story of the stage manager who hangs up in the middle of the a phone interview or skype interview to see how the applicant handles the unexpected - do they call back?  do they sit there and wait?  how do they solve the problem?

183

The Hardline / Re: Unions and Circus/Cirque

« on: Apr 03, 2013, 08:44 am »

My understanding is this, for the three listed below, OTHER than the non-union film (I'm not touching that one...): If the appropriate union is not trying to organize the Dance Company, Opera Company, or Spanish Language Theatre, you are OK to work there. BUT you'll only know if the appropriate union wishes to organize there, if you get in touch with them, and ask. Therefore you cannot work in these types of performances without permission, as such.

(Vernon, can you add more to this?)

I speak only for myself, NOT for AEA, so, check with AEA before accepting ANY non-union employment!

<snip>

I am an AEA Stage Manager.  AEA has jurisdiction over English Language Theater pieces.

Can I work non-union Dance?
Can I work non-union Opera?
Can I work a Spanish Language Play that AEA would not have jurisdiction on?
Could I *ACT* in a non-union film?

Thoughts?  Answers?

184

Introductions / Re: New Kid on the Block

« on: Apr 02, 2013, 04:28 pm »

I've been in Pittsburgh during January and February every year since 2001, and although it's really wintery cold and snowy for 3 months or more, that's no reason not to consider living and/or going to school there. It's a great town!

Welcome!  If you can stomach the winters in Pittsburgh you may give serious consideration to Carnegie Mellon.  Degrees from that university are extremely valuable.

185

Introductions / Re: Just Another Lurker Saying Hello

« on: Mar 24, 2013, 09:27 pm »

Have you tried the Riverside Theatre in Vero Beach, FL?

186

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Mar 24, 2013, 08:53 am »

Does anyone have "Pump Boys and Dinettes?"  PM me if you do, and I thank you in advance!

OR "Our Town", OR "Company."

Thanks again!

Ruth

187

The Green Room / What is a General Manager? An article to answer your questions.

« on: Mar 21, 2013, 10:21 am »

http://offbroadwayalliance.com/off-broadway-producers-resource-directory/general-managers/

188

The Green Room / Re: Sleeping in your theatre

« on: Mar 12, 2013, 01:08 pm »

I have never napped in a theatre, and I can't imagine starting now.

189

The Green Room / Re: Daylight Savings Time

« on: Mar 10, 2013, 10:38 am »

I had a sign posted on the callboard all week. When I warned the show's final series of cues last night, I reminded everyone on headset, one last time, to set their clocks ahead. And....when I got down to the Green Room after the performance, someone had set the clock there, one hour BACK. Guess how we'll know who that was?

190

The Green Room / Re: SMNetwork fundraising drive 2013

« on: Mar 01, 2013, 10:04 pm »

Done! Thanks for reminding us, Kay!

191

Students and Novice Stage Managers / Re: Stupid Question..

« on: Mar 01, 2013, 09:36 am »

A bump is a "zero" second count, on today's light boards.

One more question, in one of the spaces it says "bump" rather than a number. What does this mean?

192

Tools of the Trade / Re: SM Kit *for students*

« on: Feb 26, 2013, 06:27 pm »

Really? I think, as you grow as a stage manager, you work for more and more companies who supply everything you need, and don't expect the SM to act as a supply closet, funded by personal money. I haven't used or added to my kit, in years. I supply only my personal stopwatch, automatic pencil, leads, and stick erasers. Anything else, I expect the producing organization to supply it.

(And yes, I see the thread title is *for students*.... My statement, in relationship to the quote below, still stands.)

But as you grow as a stage manager, so will your kit.

193

Stage Management: Plays & Musicals / Re: Prop/costume responsibility

« on: Feb 11, 2013, 09:21 am »

Yep. Two show days, are the biggest trap ever, as Matthew says. "I did that already!" Yeah...you did...

Two shows days are always ripe for mistakes . . . you have the memory in your head "Oh, I already set that prop."

194

Stage Management: Plays & Musicals / Re: Prop/costume responsibility

« on: Feb 10, 2013, 12:38 pm »

So, I believe that, in every show, there are props/costumes to be preset that need to be double checked and that, in many shows, there are props and costumes that need to be preset, without which the plot or the show itself CANNOT continue (at least with the story/plot fully intact.)  These presets are the ones I consider "traps," and you don't want to ever fall into the trap of being without them. For the "trap" props or costumes there should always be a verbal acknowledgement between crew and SM (s) that these items are in place, and for many of them there also needs to be a backup plan in case something happens. If your verbal communication/triple check is not in play for these items, you are taking a risk. It is up to the SM (s) to identify all "traps"and act accordingly. At the end of the day, you need to have a plan B to deal with all story/plot-necessary items. As for blame, if I were the SM of this show, the blame would be mine for not identifying certain things that might go wrong. (No, I know that no one has ESP, and no SM can identify all the "what ifs," but one CAN identify and plan for the most important ones.) In the story above, the one person who cannot be liable, is the actor. It's great if they check their props, but I live in a world where for 90% of actors, it's not a reality.

195

Employment / Re: La Jolla Playhouse is seeking SM/ASM resumes

« on: Feb 07, 2013, 08:15 am »

The AEA Audition Department/Committee is getting smart about negotiating into contracts a requirement for theatres to publicly say how SMs can apply. That being said, I'd appreciate seeing a phrase like "accepting SM resumes for future reference (or future openings) only."  That way we'd all know what we are doing, up front. Sort of like an actor knowing a role is already cast, but auditioning as a possible replacement or understudy.