Messages

1816

Tools of the Trade / Re: The Internet

« on: Apr 21, 2008, 08:50 pm »

I don't do a web site for a daily call for a variety of reasons

1) Security - yes, named actors don't want that info.   (also, most named actors - we call them and leave their call on the cell phone.)
2) I found the time it took to put the web page up was time consuming.
3) Since I work at a regional theatre, not all of the actors who are "in town" have a laptop to check the web site.

1817

The Hardline / NYTW Laying off Production Staff

« on: Apr 15, 2008, 03:48 pm »

Have people being following this?

http://ecotheater.wordpress.com/2008/04/12/nytw-production-staff-fired/

It seems to make a lot of lot of sense, form a management perspective, especially with the lost of revenue from Rent. 

With the troubling economic times, lay offs like this, and the closing of regional theaters (Arena Stage in Buffalo), it's an interesting time to be working in the non-profit theatre world.

1818

Stage Management: Plays & Musicals / Re: Alertness

« on: Apr 15, 2008, 03:46 pm »

Another way, akin to watching just one production element - is to focus on one actor through the show, and really get to know his track.

It's really helpful when they go out, because you begin to notice the subtle aspects of their performance.

1819

Employment / Re: resume format

« on: Apr 10, 2008, 09:40 am »

I second about customizing your resume for the job.

I would be careful as you move up the ranks for putting too much on a specific resume.

Although on some levels, having a stage manager who has done a lot of other stuff on the side is good, there comes a point when you want a stage manager who is specializing in stage management, and just a jack of all trades.

1820

The Hardline / Re: Distribution Actor Notes

« on: Apr 08, 2008, 08:13 pm »

I think the issue about posting them public on the callboard is anyone can see them; not just other actors, but crew, the public, the cleaning staff, reporters, anyone who makes it backstage.

Notes given via e-mail are private - it's really no different then actors gathering in the house and the director giving out the notes verbally, right?

If the actress had an issue; I would talk to to the director directly, and see if they can e-mail me the notes, and I could take the time and divide them by the actors.

The rule in the LORT Book is:
 
(4) Individual Actor notes may not be posted on the call-board, except in a sealed
envelope.

This does not say that all actor notes can not be distributed to all other actors, although we as stage managers understand that usually you want to give individual notes to individual actors.  Reading this rule, it doesn't seem like it would be against the rules to print out notes for everyone and put in individual envelopes.

Again, I think this is one of the rules that many people assume means one thing, but the letter of the law seems to be less restrictive.  I think we all tend to think the call board for in-house communication only, but you would be surprised who stops by and reads the callboard during the day.

1821

Stage Management: Plays & Musicals / Re: Help! My ASM is USELESS.

« on: Apr 08, 2008, 09:24 am »

Well, what you have to think about is "is a bad ASM better then no ASM at all." 

I think in the long run, it might be better to do the show with an ASM, then have a bad one mucking it up.

1822

Students and Novice Stage Managers / Re: Co-Stage Manager Rant/advice

« on: Apr 06, 2008, 12:15 pm »

Learning to take over a show, either a deck track or calling a show is a hugely important skill for stage managers to have.  There are  a large percentage of stage managers who have never done this - and I have to say, it's not something that can easily be faked - there is very specialized skill set.

At one school I went to, the production manager would "tap" out a stage manager, and the ASM would have to jump in and call the show.  Which was a great dose of reality.  It didn't happen every show, but every show had to be ready.  Like the art of understudying for actors, the act of understudying or taking over for another stage manager is not often taught in school.  And trust me there are LOTS of stage managers who make a nice living taking over for other stage managers.  (I too did it for awhile - this is something very odd about running a show you have never rehearsed.)

I am sorry that it was a positive experience for you - it may have been the wrong show for your school to try it on.

1823

The Hardline / Re: Distribution Actor Notes

« on: Mar 31, 2008, 07:15 pm »

A lot of directors now e-mail notes - actors get them long before they come into the theatre.

I think the basis behind actor notes not being on the callboard is two fold.

1) Other actors don't see their notes, without being able to respond to it.
2) Non-actors don't see their notes

I think if a director is going to e-mail notes or put them into an envelope they should be either general / full cast notes and notes for that specific actors OR notes that may effect their performance.  (For example, MAry please strike Jake across the face when you enter - Mary AND Jake should get that note.)

I also want to remind the director that I should get a copy of notes as well, since often even the slightest change of a performance may effect the cue calling.

1824

Employment / Re: Non-AEA Resume Semantics: Dishonesty or Acceptable?

« on: Mar 29, 2008, 06:20 pm »

FYI, I find one "embellishment" on a resume, and I assume that entire resume is fabricated.

I have a show that I did at a major regional theatre, where I was technically a PA, but I fulfilled the ASM position (the two AEA Stage Managers took turns calling the show, I ran the deck.)  I list is as PA/ASM, which if there is any questions, they can ask.

Putting down non-equity ASM is perfectly acceptable, but putting ASM or SM as a credit at the AEA theatre when you are a non-equity ASM is just confusing . . . and points out something is note right - sending it up red flags.

1825

Students and Novice Stage Managers / Re: Trouble Finding Support.

« on: Mar 26, 2008, 12:07 am »

Obviously as a web-site that is pro-stage management, there is going to be a lot of support and love from your fellow stage managers.

BUT . . . let me be a dissenting voice.

Let’s be honest here, not everyone who wants to peruse a career in the theatre makes a living at it.  Lots of people work very, very hard at this career, and never “make it” at the level they want to make it.  You are a junior in high school, there are some many ways your life could go, don’t put all your eggs in one basket.  Go to college, get a good general education and watch as your life unfolds.  Do theatre, but don’t feel like you need to specialize in stage management and make it your life choice now.  (Hell, I thought I wanted to be a minister at the age of 17.)
I feel like many young people decide they want to go into theatre, for whatever personal reasons, and find stage management – either as an early choice from high school, or trying very hard to find a place to fit into theatre, a world they love.  And the put a lot of time and effort into at the undergrad level (and even the graduate level to be honest) without a really good idea of what this career is . . . and the pitfalls.  I know that I have tried to point this out before, but this is not an easy job, this is not an easy career, this is not an easy lifestyle.  There are easier ways to make a living – and it doesn’t mean you need to give up you love of theatre.  You know, I don’t do theatre now because I love it, I do it because it pays the bills.  (In fact, my love of theatre is all but squashed by working on it – I pretty much don’t see theatre in more -  I don’t walk into a theatre unless someone is paying me.)


Now, go out and do it – if you believe it is totally right for you, but know it’s not an easy path.  There are a lot of us who do this for a living 52 weeks a year, there are a lot of us here who do it for love when they can.  If you make this your career choice, then you will need to work hard to follow those dreams – you will work very hard.  If at some point, you realize that this is not the path for you – you will want to have a good, solid general education. 

1826

Students and Novice Stage Managers / Re: Trouble Finding Support.

« on: Mar 25, 2008, 11:46 pm »

Another thread on this topic can be found at http://smnetwork.org/forum/index.php/topic,823.0.html

1827

Students and Novice Stage Managers / Re: SM's problem with techies...

« on: Mar 22, 2008, 11:17 am »

When we start calling people "techies" we end up getting called "stage manglers"

1828

Employment / Re: Interview - What is your weakness?

« on: Mar 19, 2008, 07:26 pm »

One more thing . . .

How you answer this question as an intern applicant versus a professional interview should be different.  I think as an intern, it being an education position, you can go a little more at length at things you hope to learn and gain from an internship.

1829

Employment / Re: Interview - What is your weakness?

« on: Mar 19, 2008, 03:21 pm »

Well, the key is to be honest.  What is your weakness?

The next step is to spin it.

Besides the "I work too much", which is sort of the cliche SM answer to this question, my answer is "Cheerleading casts does not come naturally to me..  I expect actors to come in and be ready to work and come in with a good attitude.  In my experience, I know this isn't always the case.  So, what I do do is try to creative a positive upbeat work atmosphere, where actors like to come to work.  Using a light touch and a sense of humor helps me avoid the situation where I need to cheerlead.

Taking a negative, spinning it, and explaining how I compensate for this.

Saying "I take really lousy blocking" is probably not the best thing to lead with.

1830

The Hardline / Re: Is there a standard Percentage?

« on: Mar 17, 2008, 02:09 pm »

I don't think there was ever a set formula, but something negotiated on a per contract basis . . . it would be interesting for those who were in on negotiations to see where the amount over actors came from.