1876
Stage Management: Plays & Musicals / Re: How long does it take to create a rehearsal report? (Poll)
« on: Oct 09, 2007, 09:32 pm »
I think it also depends on the size of the show and the production.
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1877
Employment / Re: how long do you wait for a response?
« on: Oct 06, 2007, 07:10 pm »
(Again from the other side of the desk)
I posted a job listing about a month ago.
I just now finished responding to all of the resume submissions.
Nothing to do with the quality of the people submitting, just having to do with what little time I had to deal with it.
My advice: To those submitting resumes, never expected a response, be delighted if you get one.
I posted a job listing about a month ago.
I just now finished responding to all of the resume submissions.
Nothing to do with the quality of the people submitting, just having to do with what little time I had to deal with it.
My advice: To those submitting resumes, never expected a response, be delighted if you get one.
1878
Stage Management: Plays & Musicals / Re: LX 56 was late- PSM Error
« on: Oct 02, 2007, 07:19 pm »
If I put other people's mistakes in the show, then I put mine.
It's only fair.
It's only fair.
1879
Employment / Re: From the other side of the resume (low key rant - personal advice)
« on: Sep 24, 2007, 11:00 am »Quote
Do you think there's a good rule of thumb for what you should and shouldn't be applying for while trying to move up the ladder? It also goes the other way . . .at what point should you stop applying for or accepting internships and decide to make a go of it?
My thoughts are this, you should always continue to apply up the ladder, but do some one or two rungs above where you are . . . interning now, go to being a PA, then PA on a bigger theatre, then asm, then asm at a bigger theater, etc, etc.
I think you should do maybe one or two internships at most - this is a job, and you should be paid for it. It's amazing, when you make this career your only income source, you will work very hard at finding a job that pays.
1880
Employment / From the other side of the resume (low key rant - personal advice)
« on: Sep 21, 2007, 06:00 pm »
Just received about 40-50 responses for a series of job postings.
Again, just giving my personal response from going through a lot of resumes.
1) I know we have talked about this before, but be careful if you stray too far away from the industry standard resume. It reads as inexperienced.
2) If you cannot follow the instructions on how to apply (for example, how to submit the resume, who to send it to), it’s very hard to consider you for a position with in my team.
3) Don’t just submit a letter of interest, send the resume. It’s free. If you just submit a letter of interest without the resume, you are adding a step for me – make it easier on the person doing the hiring.
4) Include the cover letter in the e-mail, adding it as an attachment is just another step for me – make it easier on the person doing the hiring.
5) Cover letters: Short, sweet and to the point. Don’t make apologies in your cover letter – if you can’t be confident enough to sell yourself on one page, don’t submit a resume. Also, avoid getting cutesy with your cover letter.
6) If you are applying for an AEA Stage Management position, keep the cover letter streamlined and to the point; I don’t want to hear about 5 summers of scuba instruction. (unless the show has scuba in it).
7) Make sure you fit the basic requirements of the posting. If I ask for dance experience, have dance experience.
I am all for people trying to climb the career letter, but be careful about applying for a job that is way over you where you are in your career path. I know people are looking for a break, but be careful about this backfiring on you. For example, with three years community theatre experience, chances are you aren’t going to get that PSM gig on Broadway. I never realized this before, because I have done this before (we all have done this before), but there is a certain air of nativity that comes off when you end up applying way over your experience.
9) I don’t mind if you have conflicts when you apply for a job – people have a life outside of work – but if the posting is for a limited time, please make a note of that in the cover letter, or at least in our first phone conversation – don’t wait until I get to the offer stage. It will just make me upset.
10) Although theatre is an artistic business, and I firmly believe that stage management is an art form, remember that you are applying for PROFESSIONAL position in MANAGEMENT. :-) in cover letters is not acceptable. Funny quotes may come off wrong. I would much rather find a strong, professional candidate who wins me over with their personality in the interview, then see all fun and games on paper, and then have them try to win me over during the interview.
Again, just giving my personal response from going through a lot of resumes.
1) I know we have talked about this before, but be careful if you stray too far away from the industry standard resume. It reads as inexperienced.
2) If you cannot follow the instructions on how to apply (for example, how to submit the resume, who to send it to), it’s very hard to consider you for a position with in my team.
3) Don’t just submit a letter of interest, send the resume. It’s free. If you just submit a letter of interest without the resume, you are adding a step for me – make it easier on the person doing the hiring.
4) Include the cover letter in the e-mail, adding it as an attachment is just another step for me – make it easier on the person doing the hiring.
5) Cover letters: Short, sweet and to the point. Don’t make apologies in your cover letter – if you can’t be confident enough to sell yourself on one page, don’t submit a resume. Also, avoid getting cutesy with your cover letter.
6) If you are applying for an AEA Stage Management position, keep the cover letter streamlined and to the point; I don’t want to hear about 5 summers of scuba instruction. (unless the show has scuba in it).
7) Make sure you fit the basic requirements of the posting. If I ask for dance experience, have dance experience.
I am all for people trying to climb the career letter, but be careful about applying for a job that is way over you where you are in your career path. I know people are looking for a break, but be careful about this backfiring on you. For example, with three years community theatre experience, chances are you aren’t going to get that PSM gig on Broadway. I never realized this before, because I have done this before (we all have done this before), but there is a certain air of nativity that comes off when you end up applying way over your experience. 9) I don’t mind if you have conflicts when you apply for a job – people have a life outside of work – but if the posting is for a limited time, please make a note of that in the cover letter, or at least in our first phone conversation – don’t wait until I get to the offer stage. It will just make me upset.
10) Although theatre is an artistic business, and I firmly believe that stage management is an art form, remember that you are applying for PROFESSIONAL position in MANAGEMENT. :-) in cover letters is not acceptable. Funny quotes may come off wrong. I would much rather find a strong, professional candidate who wins me over with their personality in the interview, then see all fun and games on paper, and then have them try to win me over during the interview.
1881
Stage Management: Plays & Musicals / Re: Word Use
« on: Sep 15, 2007, 10:26 pm »
(just my thoughts on the word use, not the entire arguement)
My planet.
Does not mean you own it; you are form it.
My family.
Does not mean you own it; you are part of it.
My Show.
Doesn't mean I control it; just hapens to be the one I am working it.
I honestly think this one of the biggest fights I had with wife one night - about use MY, not as ownership, OR exclusive ownership. (My Planet, is also your planet)
My planet.
Does not mean you own it; you are form it.
My family.
Does not mean you own it; you are part of it.
My Show.
Doesn't mean I control it; just hapens to be the one I am working it.
I honestly think this one of the biggest fights I had with wife one night - about use MY, not as ownership, OR exclusive ownership. (My Planet, is also your planet)
1882
Tools of the Trade / Re: Cleaning Plexiglass Mirrors
« on: Sep 09, 2007, 05:27 pm »
Contact a plexi maker
there is specific clearner for plexiglass.
there is specific clearner for plexiglass.
1883
Stage Management: Plays & Musicals / Re: Good Rep Daily Call Form
« on: Aug 15, 2007, 11:31 pm »
My reason to want to do it on one page is with a cast of 40, and both shows rehearsing on one day, fight work, vocal work, almost 300 costume looks between the two shows, I think it is important to have all the information in one place, both for both of the directors, but to have all the information at one place - especially since we are rehearsing in multiple locations. I want to avoid the excuse of actors saying "I didn't see *THAT* call."
The set up is there are 40 actors in the company, there are two that only in show A, two that are only in show B, with 36 actors in both shows, 80% of them have a supporting to lead show in one or other. Same fight director, some choreographer, two different costume designer. One PSM (myself) working on/overseeing both shows - including all the scheduling - then, on each show, a team of three, with one Equity SM, one PA and one intern.
I am also trying to adjust my typical daily call form to work with this rep; since I am resident PSM, people are used to paperwork.
Maybe saying it all on one page with a mistake; I know that with 40 cast members, there is no freaking way it will all fit on one page - but I do want it to be one document - so they can compare side by side. Note on my example, I tried to line up times between both shows so it visual shows on the shows line up.
My gut is telling my one document is the way to go - I think there are more pros then cons in doing it this way. It would be easier to do two separate documents, but I don't think it's best with all the givens.
Thanks for the input so far; keep it coming.
Attached is my first draft; in the end there is a lot style in the final design.
The set up is there are 40 actors in the company, there are two that only in show A, two that are only in show B, with 36 actors in both shows, 80% of them have a supporting to lead show in one or other. Same fight director, some choreographer, two different costume designer. One PSM (myself) working on/overseeing both shows - including all the scheduling - then, on each show, a team of three, with one Equity SM, one PA and one intern.
I am also trying to adjust my typical daily call form to work with this rep; since I am resident PSM, people are used to paperwork.
Maybe saying it all on one page with a mistake; I know that with 40 cast members, there is no freaking way it will all fit on one page - but I do want it to be one document - so they can compare side by side. Note on my example, I tried to line up times between both shows so it visual shows on the shows line up.
My gut is telling my one document is the way to go - I think there are more pros then cons in doing it this way. It would be easier to do two separate documents, but I don't think it's best with all the givens.
Thanks for the input so far; keep it coming.
Attached is my first draft; in the end there is a lot style in the final design.
1884
Stage Management: Plays & Musicals / FORMS: Good Rep Daily Call Form
« on: Aug 15, 2007, 03:40 pm »
Looking for ideas for a good daily call form which would show 2 shows for the day.
I am starting, but looking for some good ideas form other SMs.
- Matthew
I am starting, but looking for some good ideas form other SMs.
- Matthew
1885
College and Graduate Studies / Re: Seeking SM Apprenticeship/Internship
« on: Aug 14, 2007, 10:54 pm »
I would recommend the program I oversee at the Shakespeare Theatre Company in Washington DC, stiped, housing, AEA ponts, three interns a year now, big, big classical theatre, performing 8-10 shows a year, in three different performance venues.
1886
The Hardline / Re: Equity "half-hour"
« on: Aug 05, 2007, 03:27 pm »
Hey, I have been on vacation, so I could not follow up.
Early in this thread, we were talking about the half-hour call, and being able to call actors before that call. PLEASE, PLEASE, PLEASE do not make that assumption without calling your business rep on an Equity contract. I spoke to a couple of business reps (oddly none of them had heard of that etiquette document), and they said that NO, you can not call an actor before half-hour except for the 15-minute fight call WITHOUT that time coming from someplace else - for example, on the LORT contract, having that time coming out of the 10 hours of rehearsal for the day, OR being paid overtime. Before you set an actor's call before half-hour, do check with your business rep before you find youself in a difficult situation. (It may be a concession type situation.)
I may be the one person to say this, but I find that document a little basic, and I would be insulted as a professional actor if someone handed that to me. I work with actors who have careers longer then I have been alive, I don't want to imagine what they would say to me if I slipped that into their welcome packet.
Early in this thread, we were talking about the half-hour call, and being able to call actors before that call. PLEASE, PLEASE, PLEASE do not make that assumption without calling your business rep on an Equity contract. I spoke to a couple of business reps (oddly none of them had heard of that etiquette document), and they said that NO, you can not call an actor before half-hour except for the 15-minute fight call WITHOUT that time coming from someplace else - for example, on the LORT contract, having that time coming out of the 10 hours of rehearsal for the day, OR being paid overtime. Before you set an actor's call before half-hour, do check with your business rep before you find youself in a difficult situation. (It may be a concession type situation.)
I may be the one person to say this, but I find that document a little basic, and I would be insulted as a professional actor if someone handed that to me. I work with actors who have careers longer then I have been alive, I don't want to imagine what they would say to me if I slipped that into their welcome packet.
1887
Stage Management: Plays & Musicals / Re: thoughts on hanging out with the cast after shows
« on: Jul 26, 2007, 06:40 pm »
A lot depends on your management style . . . can you go out drinking and have fun with the cast, and then get same amount of respect the next day?
I found it very difficult early in my career to draw the line from the fun-loving, hanging out version of myself and the more management, at work version of myself. So, I did not choose to hang out with the casts. I have my family, my own friends, etc, etc. And to be honest, after 60 hours of working in a week, the last thing I want to do is spend MORE time with people I have worked with. I actually find it better to go home, hang out with my partner and the dogs and just relax.
I do make it effort to go out opening, closing or for special events, but no just the "hey, we are going to the bar." type of invites.
I found it very difficult early in my career to draw the line from the fun-loving, hanging out version of myself and the more management, at work version of myself. So, I did not choose to hang out with the casts. I have my family, my own friends, etc, etc. And to be honest, after 60 hours of working in a week, the last thing I want to do is spend MORE time with people I have worked with. I actually find it better to go home, hang out with my partner and the dogs and just relax.
I do make it effort to go out opening, closing or for special events, but no just the "hey, we are going to the bar." type of invites.
1888
The Hardline / Re: Equity "half-hour"
« on: Jul 22, 2007, 06:18 pm »
Half-hour being longer then 30 minutes . . . that's a great thought . . . but I have always been told by my business rep that anything over the 30 minutes would come out of my rehearsal time for the week. I would be careful, and check with the business rep for the contract your are working - having many times tried to work around the half-hour call in creative ways, I have been told pretty much straight out by business reps that half-hour is 30 minutes.
What Equity Paperwork have you gotten that quote from? I love that idea of being able to fiddle with half-hour, especially on shows with 36 people who need to get into wigs.
What Equity Paperwork have you gotten that quote from? I love that idea of being able to fiddle with half-hour, especially on shows with 36 people who need to get into wigs.
1889
Students and Novice Stage Managers / Re: Bows
« on: Jul 19, 2007, 07:14 pm »
Seriously?
Seriously?
I have been doing this for 15 years professionally, at some major regional theatre, commericial productions, and I have seen a hell of a lot of theatre. I HAVE NEVER SEEN IT DONE.
I would like to know what level of theatres people work at where this done, before we give advice out to people say it is typical, normal, standard or acceptable.
Seriously?
I have been doing this for 15 years professionally, at some major regional theatre, commericial productions, and I have seen a hell of a lot of theatre. I HAVE NEVER SEEN IT DONE.
I would like to know what level of theatres people work at where this done, before we give advice out to people say it is typical, normal, standard or acceptable.
1890
Students and Novice Stage Managers / Re: Bows
« on: Jul 18, 2007, 11:10 am »However. Typically when the cast go on for their curtain call, they gesture up to the booth and clap. That's virtually the only recognition we get. But it's still nice.
I don't think this is Typical - I would never let my cast do this towards me or the crew unless it was choreographed that way by the director.
Again, just part of the gig . . . added to the list of things how stage management is different from the cast.