1891
The Hardline / Re: Equity "half-hour"
« on: Jul 17, 2007, 06:04 pm »
and times, I miss DTC.
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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1892
Students and Novice Stage Managers / Re: Bows
« on: Jul 17, 2007, 06:03 pm »
No, it's not usual or customary for crew or stage management to have a bow.
1893
Stage Management: Plays & Musicals / Re: Headset Etiquette
« on: Jul 17, 2007, 01:33 pm »
Okay, on a 3.5 hour show if NO ONE TALKED over headset, I would fall asleep.
I find a nice, controlled banter a nice way of keeping everyone awake and alert - most professional crews know once the standby is called, everyone stops talking.
But I know have the pleasure of working with the same crew for 3 years now - we get into a groove.
(And right now without the Act 1 Scene 7 nightly trivia questions, I think most of my crew and staff would slip into a coma.)
I find a nice, controlled banter a nice way of keeping everyone awake and alert - most professional crews know once the standby is called, everyone stops talking.
But I know have the pleasure of working with the same crew for 3 years now - we get into a groove.
(And right now without the Act 1 Scene 7 nightly trivia questions, I think most of my crew and staff would slip into a coma.)
1894
Stage Management: Plays & Musicals / Re: calling cues
« on: Jul 17, 2007, 01:27 pm »
Ultimately, doesn't the designer or the play system dictact what the calling system will be?
I am not going to make my design make his sound cues letters, or the automation programmer change their system.
I should be the flexiable one.
I am not going to make my design make his sound cues letters, or the automation programmer change their system.
I should be the flexiable one.
1895
The Hardline / Re: Equity "half-hour"
« on: Jul 17, 2007, 01:25 pm »
Equity wise, in my history, all equity actors can be called 30 minues before they have to go onstage. (If you have some wacky concept where the cast is on stage at house open, then you can call them 30 minutes before they have to go.) Fight call is 15 minutes before the half-hour, and only 15 minutes.
At my current theatre, artistic has made it very clear the stage is to be made available for phyiscla/vocal warm ups, so we make the stage open for 15 minutes prior fight call or, in the rare case I don't have fight call, half-hour.
You can make exceptions and call people earlier for speciality hair/wig/make-up calls, but you need to check your rule book, or more likely, with your business rep - as sometimes this additional time we eat up your weekly rehearsal time. (My current understanding is on LORT, these early calls come out of the 10 hours of rehearsal . . . so if I have to call an actor 30 minutes early make up and wig for 8 shows, that uses up 4 hours of rehearsal time for them.)
The rest of the calls are up to the SM - when to page half-hour, 15 minutes, 5 minutes and places - and should depend on the space. If it takes actors 5 minutes to get form the dressing room to places, then you need to adjust accordingly. I also do my calls relative to places (15 minutes to places called 18 minutes to show times, 5 minutes to places called 8 minutes to show time, places called 3 minutes to show time - but it takes my cast 3 minutes to get to the deck.)
At my current theatre, artistic has made it very clear the stage is to be made available for phyiscla/vocal warm ups, so we make the stage open for 15 minutes prior fight call or, in the rare case I don't have fight call, half-hour.
You can make exceptions and call people earlier for speciality hair/wig/make-up calls, but you need to check your rule book, or more likely, with your business rep - as sometimes this additional time we eat up your weekly rehearsal time. (My current understanding is on LORT, these early calls come out of the 10 hours of rehearsal . . . so if I have to call an actor 30 minutes early make up and wig for 8 shows, that uses up 4 hours of rehearsal time for them.)
The rest of the calls are up to the SM - when to page half-hour, 15 minutes, 5 minutes and places - and should depend on the space. If it takes actors 5 minutes to get form the dressing room to places, then you need to adjust accordingly. I also do my calls relative to places (15 minutes to places called 18 minutes to show times, 5 minutes to places called 8 minutes to show time, places called 3 minutes to show time - but it takes my cast 3 minutes to get to the deck.)
1896
Students and Novice Stage Managers / Re: Sexist Scenic Designer... HELP!
« on: Jul 15, 2007, 06:29 pm »
Well, like I said, you are not going to change him.
Now start thinking of sneaky ways to get your information.
How are you rehearsing without a ground plan?
Now start thinking of sneaky ways to get your information.
How are you rehearsing without a ground plan?
1897
Students and Novice Stage Managers / Re: Sexist Scenic Designer... HELP!
« on: Jul 15, 2007, 05:06 pm »
Okay . . . wait a second.
How do you know he is being sexist? Maybe he just doesn't like authority? Or just not like SMs? Maybe he is just lazy? Maybe he doesn't have any paperwork? Maybe he doesn't like the show? Could be lots of reasons he does not respond.
If he is truly a sexist, then get someone else to contact him - is the director a man? Have him get the paperwork you need. You are not going to be able to change someone in the course of a show.
If so, there are lot of JERKY designers I would try to change.
How do you know he is being sexist? Maybe he just doesn't like authority? Or just not like SMs? Maybe he is just lazy? Maybe he doesn't have any paperwork? Maybe he doesn't like the show? Could be lots of reasons he does not respond.
If he is truly a sexist, then get someone else to contact him - is the director a man? Have him get the paperwork you need. You are not going to be able to change someone in the course of a show.
If so, there are lot of JERKY designers I would try to change.
1898
Tools of the Trade / Re: [FAQ] Electronic Prompt Copies
« on: Jul 13, 2007, 10:56 pm »
My two concerns about this system, which looks cool, is 1) without the lines, I would find it had to glance down and see exactly where the cue is . . . i spend a lot of time watching the stage and just glance down to get the cue number and placement when I get close and 2) i always worry about color coding things that I read under dim or blued light.
It's just one stepped removed from the sort of standard that I am afraid I would have hard time calling form a script like that.
But if it works for you, then more power to you.
It's just one stepped removed from the sort of standard that I am afraid I would have hard time calling form a script like that.
But if it works for you, then more power to you.
1899
Employment / Re: advice on interviewing
« on: Jul 12, 2007, 03:12 am »
also, a couple of basics in terms of preparing for an interview:
it sounds obvious, but dress up for it! it's like an interview for any other job- you shouldn't show up dressed inappropriately. don't wear flip-flops. wear something that looks nice and professional, but that you could wear if they take you on a tour of the theatre. i think there's a thread here somewhere about dressing professionally.
Again, be careeful about OVERDRESSING. There is a fine line to walk.
1900
Employment / Re: advice on interviewing
« on: Jul 11, 2007, 09:15 pm »
Possible SM interview questions
(Although I have used some of these, I think these cover the basis for the basic round of questions.)
Be careful about memorizing any answer, as the interviewer may throw you curve ball. Be aware, be alert, and be honest. You can't ask for anything more.
1. Why do you work in theatre?
2. Why stage management?
3. Have you ever acted?
4. What other areas of theatre have you worked in?
5. Are you PC based or Mac?
6. What is the largest show you have worked on?
7. What is the most complicated show you have worked on?
8. What’s the biggest SM team you have worked with?
9. Have you ever worked on a musical? A classical play?
10. How are you at dealing with difficult/demanding directors? Give examples.
11. How do you deal with conflict between actors during run?
12. What directing experience do you have? Do you have experience in maintaining long running shows?
13. What sort of automation have you had in shows you have teched and called?
14. What level of automation do you feel comfortable with?
15. What are your strongest points as a stage manager?
16. What are your weakest points as a stage manager?
17. If a rooster laid a egg on a top of west-facing barn, what are the chances it will fall on the east side of the barn?
18. Where do you see yourself in five years?
19. Why are you applying at this theatre?
20. What time of supervision do you require?
21. What is your management style?
22. How do you see the role of stage management in the creative process? What do you personally enjoy about that process?
23. If one train left Chicago going 100 miles an hour, and another train left New York going 150 miles an hour, at which city they pass each other?
24. What is your worse stage management experience?
25. What is your favorite stage management experience?
26. How do you like to tech a show?
27. What do you like to do in your spare time?
28. How do you like to communicate with your design staff?
29. Why are manhole covers round?
30. What is your experience managing interns? Production assistants? Other Stage Managers?
31. Describe your ideal manager for yourself.
32. What are three qualities you think are most important for a stage manager to have?
33. How do you handle stress?
34. Why do you want this job?
35. Why do you think you will be a success in this job? Define being a successful stage manager?
36. If I were to declare it “ALPINE” day back stage, would you wear lederhosen or dirndl?
(Although I have used some of these, I think these cover the basis for the basic round of questions.)
Be careful about memorizing any answer, as the interviewer may throw you curve ball. Be aware, be alert, and be honest. You can't ask for anything more.
1. Why do you work in theatre?
2. Why stage management?
3. Have you ever acted?
4. What other areas of theatre have you worked in?
5. Are you PC based or Mac?
6. What is the largest show you have worked on?
7. What is the most complicated show you have worked on?
8. What’s the biggest SM team you have worked with?
9. Have you ever worked on a musical? A classical play?
10. How are you at dealing with difficult/demanding directors? Give examples.
11. How do you deal with conflict between actors during run?
12. What directing experience do you have? Do you have experience in maintaining long running shows?
13. What sort of automation have you had in shows you have teched and called?
14. What level of automation do you feel comfortable with?
15. What are your strongest points as a stage manager?
16. What are your weakest points as a stage manager?
17. If a rooster laid a egg on a top of west-facing barn, what are the chances it will fall on the east side of the barn?
18. Where do you see yourself in five years?
19. Why are you applying at this theatre?
20. What time of supervision do you require?
21. What is your management style?
22. How do you see the role of stage management in the creative process? What do you personally enjoy about that process?
23. If one train left Chicago going 100 miles an hour, and another train left New York going 150 miles an hour, at which city they pass each other?
24. What is your worse stage management experience?
25. What is your favorite stage management experience?
26. How do you like to tech a show?
27. What do you like to do in your spare time?
28. How do you like to communicate with your design staff?
29. Why are manhole covers round?
30. What is your experience managing interns? Production assistants? Other Stage Managers?
31. Describe your ideal manager for yourself.
32. What are three qualities you think are most important for a stage manager to have?
33. How do you handle stress?
34. Why do you want this job?
35. Why do you think you will be a success in this job? Define being a successful stage manager?
36. If I were to declare it “ALPINE” day back stage, would you wear lederhosen or dirndl?
1901
Employment / Re: advice on interviewing
« on: Jul 10, 2007, 06:31 pm »
It seems I spend a lot of time interviewing people.
Here's the secret . . . about 90% of the time, if I am calling you in for an interview, I think you can do the job - either based on resume, references, my calling people who might know you, etc. I think you have the basic skill set to do the job. The rest is about personality. I can tell within about ten minutes if you are in the right line of work . . . I don't know. Something about the way you carry yourself, answer questions, look me in the eye. The bottom line to this job is it is MANAGEMENT, you have to have those basic skill sets of a manager.
I interview for two types of positions; AEA and Non-AEA (PA/Intern) positions. Obviously I am give more leeway to Non-AEA canidates when applying, since they have the most varied background.
If you are applying for an Equity position, these are some great starter questions:
1) What contract is this under? Are there any concessions?
2) Specific Calendar Questions – rehearsal, tech, previews, run?
3) Specific Questions regarding understudies – do you have them, who rehearses them, when do they rehearse?
4) Specific Questions regarding facilities and equipment – where do you rehearse, access to office, computer, supplies?
5) Specific show related questions – cast size, info on director, design team, level of automation, how big is the crew, etc, etc. Typical rehearsal span of days, tech, etc – are all good.
6) And then, if I am interviewing an assistant, I love questions like “What do you expect of me?” “What would your ideal assistant be like?” Anything that gets me talking about what I am looking for that can lead to you talking more about yourself.
Be careful – there are dumb questions. Be careful about asking anything that undercuts what you are trying to present. If you are presenting yourself as a professional stage manager, be careful about asking something that undercuts. Do your homework on the theatre company. Talk to people who have worked there. Come in excited about the project.
When you are applying for a non-AEA position, the field is wide open for questions – there are not set guidelines, so asking about how long your work week is valid. (I hate when AEA stage managers ask this question – it’s in the freaking rule book.). But again, I give a lot more freedom.
Now, as far as what questions to expect from me when you sit down. I don’t want to tell you – my whole goal is throw you off you kilter, make you a little uncomfortable, see who you really are and what your personality it. I just finished filling positions for a 20 week contract. 20 WEEKS of working with people – my number goal is to make sure I can spend 10 hours a day with you for six days a week for 20 weeks. It’s all about your personality. I will ask questions to feel out your sense of humor, how you work under stress, how you deal with kid actors, actors who are older then your grandparents, what you are like at 9:00a, what you are like at midnight, what your favorite coffee drink is, what your favorite booze is, what do you parents do, why you chose this town to live, best SM moment, worst SM moment – it’s all about getting to know who you really are.
THE NUMBER ONE THING TO REMEMBER: Relax and be yourself. Put forward the type of person you are when you are working in the interview. If you are more relaxed and laid back, that is fine. If you are more uptight and type A, then that’s okay as well. I am usually trying to put together a team, and I want to balance personality types.
Here's the secret . . . about 90% of the time, if I am calling you in for an interview, I think you can do the job - either based on resume, references, my calling people who might know you, etc. I think you have the basic skill set to do the job. The rest is about personality. I can tell within about ten minutes if you are in the right line of work . . . I don't know. Something about the way you carry yourself, answer questions, look me in the eye. The bottom line to this job is it is MANAGEMENT, you have to have those basic skill sets of a manager.
I interview for two types of positions; AEA and Non-AEA (PA/Intern) positions. Obviously I am give more leeway to Non-AEA canidates when applying, since they have the most varied background.
If you are applying for an Equity position, these are some great starter questions:
1) What contract is this under? Are there any concessions?
2) Specific Calendar Questions – rehearsal, tech, previews, run?
3) Specific Questions regarding understudies – do you have them, who rehearses them, when do they rehearse?
4) Specific Questions regarding facilities and equipment – where do you rehearse, access to office, computer, supplies?
5) Specific show related questions – cast size, info on director, design team, level of automation, how big is the crew, etc, etc. Typical rehearsal span of days, tech, etc – are all good.
6) And then, if I am interviewing an assistant, I love questions like “What do you expect of me?” “What would your ideal assistant be like?” Anything that gets me talking about what I am looking for that can lead to you talking more about yourself.
Be careful – there are dumb questions. Be careful about asking anything that undercuts what you are trying to present. If you are presenting yourself as a professional stage manager, be careful about asking something that undercuts. Do your homework on the theatre company. Talk to people who have worked there. Come in excited about the project.
When you are applying for a non-AEA position, the field is wide open for questions – there are not set guidelines, so asking about how long your work week is valid. (I hate when AEA stage managers ask this question – it’s in the freaking rule book.). But again, I give a lot more freedom.
Now, as far as what questions to expect from me when you sit down. I don’t want to tell you – my whole goal is throw you off you kilter, make you a little uncomfortable, see who you really are and what your personality it. I just finished filling positions for a 20 week contract. 20 WEEKS of working with people – my number goal is to make sure I can spend 10 hours a day with you for six days a week for 20 weeks. It’s all about your personality. I will ask questions to feel out your sense of humor, how you work under stress, how you deal with kid actors, actors who are older then your grandparents, what you are like at 9:00a, what you are like at midnight, what your favorite coffee drink is, what your favorite booze is, what do you parents do, why you chose this town to live, best SM moment, worst SM moment – it’s all about getting to know who you really are.
THE NUMBER ONE THING TO REMEMBER: Relax and be yourself. Put forward the type of person you are when you are working in the interview. If you are more relaxed and laid back, that is fine. If you are more uptight and type A, then that’s okay as well. I am usually trying to put together a team, and I want to balance personality types.
1902
The Hardline / SPT Additional Duties / Additional Pay
« on: Jul 10, 2007, 05:51 pm »
I have a friend who has her first SPT contract, and they are asking her to run sound.
It's her choice to do it or not, but is there something in the contract that would require additional payment?
I am asking just for my information at this point.
It's her choice to do it or not, but is there something in the contract that would require additional payment?
I am asking just for my information at this point.
1903
Stage Management: Plays & Musicals / Re: Creating Paperwork
« on: Jun 29, 2007, 11:50 am »
Every situation is different, and that is why it is very important to sit down with your team and deciede who is going to do what, and then the PSM/SM should make it clear what format they like.
I admit I often go "I don't care what the paperwork looks like" and then have someone create a document I tear to shreds - so, in reality "I don't care what the paperwork looks like as long as I find it useful to me."
I basically, in the grand scheme of things, only do the production report and the rehearsal call, I expect my ASM to do the run book and prop list, PA's and Interns usually do other paperwork - but we often tag team big projects, like the run book so everyone works on it.
But in the end, EVERYTHING is my responsibility.
I admit I often go "I don't care what the paperwork looks like" and then have someone create a document I tear to shreds - so, in reality "I don't care what the paperwork looks like as long as I find it useful to me."
I basically, in the grand scheme of things, only do the production report and the rehearsal call, I expect my ASM to do the run book and prop list, PA's and Interns usually do other paperwork - but we often tag team big projects, like the run book so everyone works on it.
But in the end, EVERYTHING is my responsibility.
1904
College and Graduate Studies / Re: STAGE MAN. COLLEGE
« on: Jun 24, 2007, 11:16 pm »
What's the best program?
Who knows?
What you need to ask is what do I need to become a better stage manager and then research which programs will can address your needs. It's impossible to say what stage management college is the best . . . there are different styles, different programs, different goals and objectives.
Who knows?
What you need to ask is what do I need to become a better stage manager and then research which programs will can address your needs. It's impossible to say what stage management college is the best . . . there are different styles, different programs, different goals and objectives.
1905
Students and Novice Stage Managers / Re: Sublet in NYC?
« on: Jun 23, 2007, 01:35 pm »
Craig's List is the end all be all for things like this.