1801
Uploaded Forms / Re: Emergency Contact Information
« on: Jun 05, 2008, 12:27 pm »
i thought i would put my form up
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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1802
Employment / Re: Thinking of leaving the industry...
« on: Jun 04, 2008, 02:36 pm »
Besides the advice in the other thread . . . a question might be asked are there aspects of this job you can transform into an specific job in the industry.
Production management? General Management? Casting? (I know a SM who has made a fantastic career in casting for film, television and theatre.) Theatre Education?
But if really want to make a nice break with career - I can't say enough about temping to get your foot in the door - employers get to try you out - and once they see all your stage management skills in action, it often leads to a firm job offer (I temped in 5 different industries - from Aerospace, Health Care, Computers . . . and all of them lead to full-time job offers . . . of course, theatre, like the bad drug it is, kept me coming back.
Production management? General Management? Casting? (I know a SM who has made a fantastic career in casting for film, television and theatre.) Theatre Education?
But if really want to make a nice break with career - I can't say enough about temping to get your foot in the door - employers get to try you out - and once they see all your stage management skills in action, it often leads to a firm job offer (I temped in 5 different industries - from Aerospace, Health Care, Computers . . . and all of them lead to full-time job offers . . . of course, theatre, like the bad drug it is, kept me coming back.
1803
The Hardline / Re: Joining Equity
« on: Jun 04, 2008, 12:20 am »
It sometimes helps to have the option of straight six for a particular actor.
One actor can have a straight six and then everyone else can work an 8 out of 10.
It just gives you more options - and options are want you want when you are trying to schedule at 10:00p.
One actor can have a straight six and then everyone else can work an 8 out of 10.
It just gives you more options - and options are want you want when you are trying to schedule at 10:00p.
1804
Uploaded Forms / Re: Show Survival Kit
« on: Jun 01, 2008, 06:08 pm »
Our teams (4+) tend to work on documents on the same time, so I don't think this would work on a large team, but I think it's great for solo SM projects.
1805
Uploaded Forms / Re: Show Survival Kit
« on: Jun 01, 2008, 04:39 pm »
I think it is interesting to combine the documents in form . . . my only concern is if you are more then a one person team, how to update and access the form could be problematic.
How do you handle multiple users of the same document?
How do you handle multiple users of the same document?
1806
Stage Management: Plays & Musicals / Re: Question about Production Meeting Reports - How much do you put in it?
« on: May 30, 2008, 11:17 am »
At some regional theatre, stage managers do take notes at the production meeting; it depends on the theatre.
In general about notes, I always think as much detail as possible without being annoying about it is the way to go. If you are too exact, you will get people starting to correct your notes. I also find it very important for someone to take notes in a production meeting, and then someone else who was at the meeting proof them - often how one person hears something is different then another person hears it.
I tend to be okay with notes like . . .
"The was detailed conversation about how the tracking bed needs to be constructed and it's path to storage backstage. Designer mentioned that the she would pefer the headboard not be detachable, but was fine about the sidetables being removeable for storage and backstage traffic. TD will work up new drawings and get back to stage manager." Just sort of highlights to a perhaps a much larger conversation.
In general about notes, I always think as much detail as possible without being annoying about it is the way to go. If you are too exact, you will get people starting to correct your notes. I also find it very important for someone to take notes in a production meeting, and then someone else who was at the meeting proof them - often how one person hears something is different then another person hears it.
I tend to be okay with notes like . . .
"The was detailed conversation about how the tracking bed needs to be constructed and it's path to storage backstage. Designer mentioned that the she would pefer the headboard not be detachable, but was fine about the sidetables being removeable for storage and backstage traffic. TD will work up new drawings and get back to stage manager." Just sort of highlights to a perhaps a much larger conversation.
1807
Employment / Re: Dear Abby: Negotiating contracts
« on: May 23, 2008, 02:17 pm »
This is a business, and you have to figure out what you are worth in the market, and market yourself. Can you live with lesser salary, if housing and travel is taken care of?
Figure out how much you need, for example, without housing and travel? Then figure out how much you would need with housing and travel?
Figure it out and give them the options, but prepared to pass on the job.
Figure out how much you need, for example, without housing and travel? Then figure out how much you would need with housing and travel?
Figure it out and give them the options, but prepared to pass on the job.
1808
Stage Management: Plays & Musicals / Re: Guillotine
« on: May 21, 2008, 10:50 am »
I remember the Broadway one was a big old special effect designed by a magician I believe. (It was oddly simple I remember watching it from the wings, but I believe expensive).
1809
Stage Management: Plays & Musicals / Re: Cast Gifts/Thank Yous?
« on: May 19, 2008, 05:15 pm »
You know I am not a big gift giver to cast or crew, but to my staff - the rest of the SM team - I do feel like getting something special to them.
Even in the regular business world, the completion of a big project often comes with a bonus - I can't always pay my staff what the deserve - but a nice card or gift card at opening shows a little appreciation.
Even in the regular business world, the completion of a big project often comes with a bonus - I can't always pay my staff what the deserve - but a nice card or gift card at opening shows a little appreciation.
1810
Employment / Re: AEA...to be or not to be?
« on: May 16, 2008, 11:57 pm »
My gut reaction is that if you are not sure it is the right time, it might not be the right time.
Although, if you are professionally minded, and ready to work only at the union level - then there should be no hesitation to take the card.
Although, if you are professionally minded, and ready to work only at the union level - then there should be no hesitation to take the card.
1811
Stage Management: Plays & Musicals / Re: Glass Menagerie
« on: May 14, 2008, 01:09 pm »
Contact a theatre that has done it before.
You are pretty much stuck having to buy them, and then rigging that damn unicorn.
(almost as much fun as the card house for THE REAL THING)
You are pretty much stuck having to buy them, and then rigging that damn unicorn.
(almost as much fun as the card house for THE REAL THING)
1812
College and Graduate Studies / Re: Is MA in stage management helpful?
« on: May 13, 2008, 03:51 pm »
I disagree that those who go get a MFA are for those who only got a taste of it in undergrad. I actually returned to grad school after working professionally for about three years, and a full course of it as undergrad.
I went to grad school to sharpen my skills, make connections, and become the best damn stage manager I could be. Could I have worked professionally with out my MFA? Damn straight. I was, and making a fairly good living at it. But, this is a business, and I knew enough that I didn't know enough to get from where I was to where I wanted to be, and I knew I didn't have the wicked skills and connections you need to make it in this business. In three years, I could have gone and PA'ed for two seasons, and maybe got an ASM gig at some regional theatre. At the end of my time at grad school, I was stage managing at a MAJOR REGIONAL THEATRE, working on shows and productions with top tier teams. Those three years were spent as an investment in my career.
As I have said many times to go, only you or someone who is very familiar with your skill-set can help you make this decision. Grad school is not for everyone - and someone people who grad school is a nice fit, it may not help them in their career. It's a challenge.
I can say that I did get to open up teaching opportunities - yes, you can teach with out an advance degree, but it is much harder to get hired full time without the degree (many more hoops to jump thru.)
I do agree about getting out of school and working for a couple of years. You won't know what you need out of a grad school until you have gone out and worked. You are going to want a very detailed list of things you want out of grad school before you go shopping around - having a strong idea of what work you want to do. If you want to do musicals, then there are schools that are better suited for that. Love doing new work, there are programs geared towards that. Like dance? Opera? classics? You should know these things. Also, knowing what style you have will help a lot - some schools teach an entirely different style then others.
You don't need a MFA to be a good stage manager, but a MFA can help you be a better stage manager. And in a competitive world, where you are running the business of yourself, you are going to want any and every advantage you can get. (remember, in some ways, we are all competing for the same jobs . . . )
So, to answer you question – is the right path for you? Only you really know that. Are you getting the level of jobs you think you should be getting? Are you working at the level you think you should be working at? Are you satisfied with your work on projects you are hired with? Are you frustrated you career is not moving ahead at the pace you want to? Do you find yourself wishing you were better at a certain aspect of you job? Are there types of shows you are not getting hired for that you want to be hired for? Are you frustrated about you not being union yet?
I went to grad school to sharpen my skills, make connections, and become the best damn stage manager I could be. Could I have worked professionally with out my MFA? Damn straight. I was, and making a fairly good living at it. But, this is a business, and I knew enough that I didn't know enough to get from where I was to where I wanted to be, and I knew I didn't have the wicked skills and connections you need to make it in this business. In three years, I could have gone and PA'ed for two seasons, and maybe got an ASM gig at some regional theatre. At the end of my time at grad school, I was stage managing at a MAJOR REGIONAL THEATRE, working on shows and productions with top tier teams. Those three years were spent as an investment in my career.
As I have said many times to go, only you or someone who is very familiar with your skill-set can help you make this decision. Grad school is not for everyone - and someone people who grad school is a nice fit, it may not help them in their career. It's a challenge.
I can say that I did get to open up teaching opportunities - yes, you can teach with out an advance degree, but it is much harder to get hired full time without the degree (many more hoops to jump thru.)
I do agree about getting out of school and working for a couple of years. You won't know what you need out of a grad school until you have gone out and worked. You are going to want a very detailed list of things you want out of grad school before you go shopping around - having a strong idea of what work you want to do. If you want to do musicals, then there are schools that are better suited for that. Love doing new work, there are programs geared towards that. Like dance? Opera? classics? You should know these things. Also, knowing what style you have will help a lot - some schools teach an entirely different style then others.
You don't need a MFA to be a good stage manager, but a MFA can help you be a better stage manager. And in a competitive world, where you are running the business of yourself, you are going to want any and every advantage you can get. (remember, in some ways, we are all competing for the same jobs . . . )
So, to answer you question – is the right path for you? Only you really know that. Are you getting the level of jobs you think you should be getting? Are you working at the level you think you should be working at? Are you satisfied with your work on projects you are hired with? Are you frustrated you career is not moving ahead at the pace you want to? Do you find yourself wishing you were better at a certain aspect of you job? Are there types of shows you are not getting hired for that you want to be hired for? Are you frustrated about you not being union yet?
1813
The Hardline / Re: AEA Rulebook
« on: May 12, 2008, 01:28 am »In terms of giving notes, Equity says that once the show opens it's the SM's job to maintain the show as directed...meaning the SM should give notes to accomplish that goal.
That's not necessarily so. You can still maintain the show and give notes through an assistant director for example, or thru the artistic director.
I find that a lot of directors don't trust younger stage managers to give notes. I know that it is often not taught in school - and it's a very fine art to maintaining a note. At my theatre, we have a very specific ways notes are to be given, and I am not at all responsible for maintaining the show all by myself, but do so with the resident assistant director.
1814
Stage Management: Plays & Musicals / Re: Tech Questions
« on: May 03, 2008, 04:59 pm »
I have always teched a show from the house, with the lighting designer usually within whisper distance from me, and the director either right in front of me or right behind me. I will call the show once form the booth before previews. (Now granted, when I am in the house, I do have an IR monitor and other camera shots I will use during the show.)
Sitting in the house just makes it easier to communicate with the full tech staff in person, not just over headset - it's hard enough to communicate with the full tech staff over headset backstage, to add the director and other designers and departments over headset would drive me crazy.
I also HATE having to use the god mic to communicate with the cast or the rest of the creative staff - I like being able to just use my natural voice. I am also a stage manager who is not afraid to get up onstage and help figure out a problem. Being in the booth would just take me out of the room - which I think would make it really hard to tech.
I am also a huge fan of letting the director direct in tech - first off - it often fills up the time while we are writing. (And to be quite frankly, once you add sound, lights, props, set - there are some things that are going to change, and the director needs to react.)
Sitting in the house just makes it easier to communicate with the full tech staff in person, not just over headset - it's hard enough to communicate with the full tech staff over headset backstage, to add the director and other designers and departments over headset would drive me crazy.
I also HATE having to use the god mic to communicate with the cast or the rest of the creative staff - I like being able to just use my natural voice. I am also a stage manager who is not afraid to get up onstage and help figure out a problem. Being in the booth would just take me out of the room - which I think would make it really hard to tech.
I am also a huge fan of letting the director direct in tech - first off - it often fills up the time while we are writing. (And to be quite frankly, once you add sound, lights, props, set - there are some things that are going to change, and the director needs to react.)
1815
Tools of the Trade / Management Books
« on: Apr 28, 2008, 11:07 am »
I am working on a "syllabus" for my stage management interns for next season.
I am looking for good, general management books for theatre.
I always recommend The Heart of Coaching: Using Transformational Coaching to Create a High-Performance Coaching Culture (3rd Edition) by Thomas G. Crane and Lerissa Nancy Patrick.
Anyone else suggest 2 or 3 other good management books? Especially for "younger" managers?
(I feel I may have asked this questions before . . . but I can't find the answer)
I am looking for good, general management books for theatre.
I always recommend The Heart of Coaching: Using Transformational Coaching to Create a High-Performance Coaching Culture (3rd Edition) by Thomas G. Crane and Lerissa Nancy Patrick.
Anyone else suggest 2 or 3 other good management books? Especially for "younger" managers?
(I feel I may have asked this questions before . . . but I can't find the answer)