Messages

196

Stage Management: Plays & Musicals / Re: How To Get To Broadway?

« on: Aug 25, 2009, 11:00 pm »

I don't think there's a tried and true way to do it--but I can tell you what's worked for friends of mine/myself in the past.

I'd sent out cold resumes like you had and never heard a thing-but low and behold a director I worked with has a Broadway PSM he loves to death and suggested we have dinner. Seemed totally awkward to me to have a networking dinner with a stranger, but I gave it a shot.

We had dinner, got along great, he asked for my resume and etc and a month later he offered me a PA position on a Broadway show. Now, unfortunately the shows budget ended up not being flexible enough to afford PAs for the rehearsal process but I still have that contact who I follow up with on a regular basis.

So it really can be who you know and networking... so start chatting everyone up!

197

Stage Management: Plays & Musicals / Re: COMMUNICATION: What to include in a report vs when to send a private email

« on: Jul 02, 2009, 07:47 pm »

I agree that everything should be touched on in a report--if something requires a lengthy explanation, clarification, or side conversation I send a follow up email to keep communication going then put the resolved note in the next report.

Example:
Would it be possible to make the table taller, and use stools instead of chairs?
Send follow up email to designer/director/ LPs to keep conversation going... then the next day
Table and chairs will now be a stool and small cafe table (heights "..." and "..") color, and location on the ground plan is unchanged.

198

Tools of the Trade / Re: Digital Prompt Books (Do you use them?)

« on: Jun 21, 2009, 05:13 pm »

If I had the time/resources-I'd do this for EVERY calling script.

That being said-I end up doing this about 50% of the time, my runs have ranged from 2 days to 3 months. Shows range from dance, to childrens, to national tours. I think Matthew has excellent points in that it's an invaluable tool especially for a company who may want to remount it in the future. Having an electronic backup is amazing-my last tour was wow-ed that I was able to send them a digital copy of the script for archiving/future tours.

Half the time our tech process just isn't fluid enough to allow me time to type in my cues/it would take twice as long as the tech process itself so I just photocopy my handwritten cues and call it a day. It's not how I prefer to do it-but time and money are definitely factors for me.

I use Word, although there is some little computer savy SM inside of me that wishes that something would come out for a two screen tablet laptop. Can you imagine?!--having a tablet laptop like a binder that you could use with a stylus. But I digress....

I think it's a great habit and tool for SM's. I know some that call their shows off laptops/computers with pdfs of typed scripts, and I personally prefer having paper in a binder.

199

Stage Management: Plays & Musicals / Re: paycheck = percentage of the house?

« on: Jun 18, 2009, 01:28 pm »

What kind of AEA contract? It must be a showcase, because I believe anything else requires certain levels of pay.

I personally wouldn't be comfortable accepting a percentage of the house-especially in this economy.

200

Employment / Re: How Much Is Too Much?

« on: May 03, 2009, 07:23 pm »

When in situations like that I usually take the "sure bet" job for security and apply like CRAZY to everything else I can find that pays a similar rate, so worst case scenario: you work with a "challenging personality" again, learning new things about how to deal with said people.. or best case scenario: you find a new job and get an ASM/hire a new SM to replace you at the first one.

Good luck-let me know how it goes! I'm coming off a production a lot like this, it takes deep breaths, a good sense of humor and distancing yourself from the people in the process. (still doing your job of course)

201

Employment / Re: How do you work your network?

« on: May 01, 2009, 12:22 pm »

For me being in the NYC and freelancing.. having a good network is completely necessary in order to get jobs that pay the bills.

It may sound silly and obvious, but in order to keep myself in people's minds, I see all their shows! I keep an eye on playbill, websites, Time Out magazine and when I see a show a director, designer or producer I've worked with has done I go see it (usually in previews when it's cheaper..)

Recently I applied for a job, and when they contacted my reference (a director I love working with) he got back in touch with me to say "come see my show!" so I made time to go see it, met his current SM who is booking me for more work this summer as a testament to my 'loyalty' to that director.

Also I can't stress enough the importance of networking in theater complexes--If you're working in a busy complex (for me its Theatre Row) take the time to get to know the staff, managing directors, the guy that runs the stage door, because I recently got a few one-offs because when a group came in from Tennessee and needed a SM last minute, they called me.

Just a few tips that always work for me!

202

Stage Management: Plays & Musicals / Re: Rental set dilemma

« on: May 01, 2009, 12:01 pm »

I'd be more comfortable doing this walk thru with the scenic designer if they were available since while you may have more of the "tricks" to explain, the designer can share their vision.

Overall I wouldn't be too concerned, if they wanted a completely original concept they wouldn't have rented a set....

203

Employment / Re: So...I want to go on tour

« on: Apr 30, 2009, 12:34 am »

I'm not sure if you're NY based but two ways to get your foot in the door in this area are..

TheaterworksUSA, and Two Beans Productions.. both are small children's touring companies (Theatreworks is much bigger and offers Equity TYA contracts, so if you're ready for your card it's a good "in")

They are smaller tours that usually involve 1-2 vans, 3-7 actors/asms and 1 touring stage manager. I went on a  4 month tour with Two Beans and learned a lot. Things like how to maintain company morale while you're stuck in Wyoming with no night life (bowling is always fun!) and how to problem solve when you're nearest support is in NYC. I met tons of great people and had a good time. Money wasn't horrible.

Good luck!

204

Stage Management: Plays & Musicals / Re: Long Run Conundrum

« on: Apr 14, 2009, 10:18 pm »

I'm reaching this same point with a show that hasn't even opened yet! (Oh the stories..)

I agree with everyone above me, leaving while you're ahead is key. My general thought process is "did I learn everything I could from this process?" if the answer is yes, and I'm not growing as a stage manager or as a person, it's time to move on. I'm sure there is some other stage manager who hasn't had your specific experience of this show, and is eager for a new job where they can stretch their wings.

I also agree working on a show with an open ended run, or constant changes is exhausting. There is no light at the end of the tunnel (Known as closing)

205

The Hardline / Re: Deputy on a One Man Show

« on: Apr 14, 2009, 09:54 pm »

the two one man shows I've done in NYC both requested a waiver on the deputy role (one was a mini contract, the other ended up being a special waiver from Equity that the actor/producer got after much cajoling) so I'm sure if you call the Equity offices they may have an alternate plan that will fit your situation.

The worst they could say is "No" and you'll have to be the deputy. :-/

206

Employment / Re: Job/Gig searching in the new economy

« on: Apr 12, 2009, 12:13 am »

I agree with Trevor7... showcases in NYC which used to be at least sustainable employment are now nosediving in fees which is unfortunate.

I spent all of January unemployed due to the dismal amount of listings online, and the general lack of labor needed all around that time of the year. I couldn't even get day work (a 'civilian job' as I like to say) anywhere..even with my 2 years of experience in food service and 2 years in retail.

Things have since picked up and I'm spending my resources (time & $$) wisely and expanding my networking pool which has helped me get lots of "hey, so-and-so recommended you for this.." emails.

207

The Hardline / Re: Musician's Union and Stage Managers

« on: Apr 06, 2009, 03:58 pm »

I've only briefly worked with them in an opera setting (I was wardrobe, but lusting after an ASM position), and about the only thing I remember is they are serious about taking their breaks on time. Their breaks wait for no one. I watched a tech rehearsal come to a grinding halt because they wanted to run a sequence a few times in a row to get it right (including a quick change) but the conductor had called a break for the orchestra.

Just means careful planning and time management and all should be fine

208

Students and Novice Stage Managers / Re: Natural Disaster vs. Rehearsal?

« on: Mar 30, 2009, 09:04 am »

I agree with the above posters that it's not the best of circumstances, but it might be the best you can do right now.

Another idea to throw in the mix--is there another school near your campus where you might be able to relocate for some rehearsals? I'm not sure if more of your cast/crew is based in MN or ND, but maybe if a school nearby safe from the flooding concerns (which from what I hear is nowhere in ND..) would be willing to cough up some dorm space and a room to rehearse until it's safe to return? I remember doing this in Minot, ND when we had the anydrous ammonia accident.

On a sidenote, I'm from the F-M area originally (now living in NYC) and remember sleepless nights in 1997 wondering how we were ever going to save that town. Watching the community rally in the wake of another monumental flood makes me so damn proud to be from the area.

209

Tools of the Trade / Re: Oops! I didn't mean to send that.

« on: Mar 27, 2009, 10:51 am »

gmail has a nifty thing, that if in the body of your e-mail the words "attachment" or "is attached" appears and then you forget to attach said file, it'll ask you if you wanted an attachment before it is sent. That has saved my butt several times.

As far as sending emails to the wrong people, just having contact lists built for a production is really helpful. But chances are there will be a few emails you only meant for a few pairs of eyes and hit the 'reply all.' most time it's no big deal, people will often ignore what isn't directly related to them. If your conscience is acting up I'd say send a  "My fault, this email was meant for "x y z""

--After reading Mac's post, I don't think there is any reason for every SM on the planet not to use gmail. It's amazing.

210

Stage Management: Plays & Musicals / Re: A Rude Costumer

« on: Mar 24, 2009, 10:48 am »

Kudos for keeping your head and being the bigger person thus far.

I would most likely handle the situation by sitting down with the costumer (e-mails can come off so catty sometimes) and explaining that the costumes look great, and everyone is really happy with the work, but unfortunately having one actor who cannot execute the choreography in their current costume just isn't going to help the show run smoothly. Also I'd add that while the slip was a great idea, it seems it wasn't going to work with the choreography either. Offer to have your assistant, wardrobe person, or yourself help acquire and test out a different solution. (I wouldn't continue the blame game on who broke it/actor carelessness..thats dirty politics)

Did you suggest the slip? Or just say that her costume was too revealing for choreo (high kicks, etc)? I know that if you try and tell a designer what to do instead of presenting the problem and asking for their solution, things can get tricky. No one wants to be told by another person on the show how to to their job.

Just presenting the issue in a more personal way (rather than in reports) can go a long way, I've found. The costumer may feel like they're under incredible amounts of stress, and everyone seeing on the report that there's a costume issue might add to it. Try and look at it from their point of view, and when all else fails, remind them how much you appreciate them.

Good luck! Let us know how it goes.