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Messages - hbelden

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196
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 22, 2008, 04:55 pm »
Shakes Santa Cruz made it!  They raised over $400K by today's deadline!  from their press release:

SSC Artistic Director Marco Barricelli sees this extraordinary outpouring of support as a validation for the arts. “We have been sent a very clear message, and that message is: Theatre matters.  The arts are an important and integral part of our lives, and though times may be difficult, we refuse to live without the inspiration and grace afforded us by great writers, actors, directors, and artists. Through their efforts, we are able to relish this precious gift of life in ways otherwise impossible.”

197
Stage Management: Plays & Musicals / Re: Costuming the Crew
« on: Dec 17, 2008, 03:15 pm »
I've seen problems when the crew member in question doesn't fit into the milieu; the best show carp in town had multi-colored dreadlocks, both tall and long, and he was doing a vista scene shifts in a 1930's period piece a friend of mine was working on.  The director of that piece said that he was "ruining her show".

I would have said, if you want an actor, you should have hired an actor.  The personal appearance of a crew member should have nothing to do with their hiring, in my opinion.

198
The Hardline / IATSE house
« on: Dec 16, 2008, 07:53 pm »
The LORT contract allows actors out of character to set or strike things when they enter or exit a scene.  Our director doesn't want to see stagehands onstage.  However, in an IA house, that would be taking a job away from a props crewmember, right?  Not kosher?

The PSM is going to bring this up with the shop steward in a day or two, but I wondered what you all thought.

199
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 15, 2008, 06:29 pm »
I just got a fund-raising e-mail saying that Shakespeare Santa Cruz was going to close unless they could raise $300K by 12/22/08.  From their website:

"Our challenge is simply put – raise $300,000 in a week’s time or cease to exist.  Talk about “to be or not to be”?  The question is, can you help? Yes you can.  Click here to donate immediately, or keep reading to get further energized!  Do it NOW or forever hold your peace."


200
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 09, 2008, 04:59 pm »
And my big anchoring gig this spring disappears.  Just when I became solidly the SM of choice in San Jose, AMT shuts up and I don't get to do one of my favorite musicals, 42nd Street.  I hate this economy.  :(

201
Stage Management: Plays & Musicals / Re: Child Labor Laws
« on: Nov 06, 2008, 11:49 pm »
These roles should be double-cast.  Cast A works half your tech day, Cast B works the other half.  Each cast does half the week's shows; and neither cast does a two-show day.  Make sure each cast gets a run-through before they perform.  Tell management that they've put you in an impossible situation and are preventing the show from completing the rehearsal process because they've under-cast it.  You just can't work a show when two roles have conflicts with half your work-week.

202
Stage Management: Plays & Musicals / Re: Hell Week...?
« on: Oct 20, 2008, 11:05 pm »
The term "hell week" doesn't bother me nearly as much as calling the prompt book a "show bible".  Don't know why, exactly.  Maybe it's that there's something team-building, in a boot camp sort of way, to know that we're all going into a difficult period willingly and with support for each other.

203

Thanks for your thoughtful reply; as I meant to say, I'm just beginning to scratch the surface of understanding how our union works. 

Ultimately, the decision to open or close any office lies with the Executive Director and his National Staff advisors. The notification to the Bay Area Advisory Committee (BAAC), the Western Regional Board and the National Council were simply courtesies and requests extended to us for comments and reactions.


This isn't what I heard Ms. Westerfield say at the meeting; I heard her say that decisions like this were made by council/President Zimmerman.  I'm sure that the misunderstanding was on my part: there was a lot of crosstalk and I probably lost the thread of discussion for a while.

And anyone who got that letter from Equity about the office closing would certainly not describe it as a courtesy.  Many of us don't quite understand how technology has leveled our union and made it easier for people in far-flung regions to participate; the comparison of the bay area to other theatre regions, such as Seattle, Dallas, Denver, etc., was not made in a clear manner.  I should stop before I begin putting words in people's mouths, but we feel insulted, frankly, and since it's our own union, betrayed.  The decision was, I'm sure, made in good faith and for the good of the union as a whole; but it definitely was communicated poorly on the ground here in SF.

As I said, I met Bethany Umbach and I think she's going to do a great job as our business rep.  I'm sure she's going to learn the theatres around here well and I hope she lasts longer than our average SF business rep in the last fifteen years has lasted.

204
I went to the SF meeting last night and woke up at 3:00am thinking about it.  My personal thoughts about the meeting are below.  But first I want to say that, like many union members, I have had only the vaguest idea of how our union actually represents us. 

Anyway, there's a ton of resentment, concern, and even rage in SF about the closing of our satellite office, which has been in place since the '70s.  I felt sorry for Ms. Westerfield, who had more than an earful from all the passionate, articulate speeches about the high-handed manner in which this critical decision was communicated to SF membership.  As the face of AEA for the rank-and-file, she probably felt that a lot of this anger was directed at her personally; and from what I heard, it seemed like many members thought the staff of AEA was responsible for the decision.  I hadn't thought about it, but that's probably what I would have guessed.  One actor in particular had a real desire for John Connolly to personally come out and defend the office closing.  Now that I've read the AEA website, I know it's actually our representatives on the council that made this decision, and they're the ones who owe us an explanation, who need to make the case for closing the office in a way that we can support.

A motion was made, seconded, and passed at our membership meeting, calling on the national office to re-open the San Francisco branch, and to respond to our call in a substantive manner.  (I'm paraphrasing there.)  47 ayes, 3 nays, 3 abstentions.  I voted nay, because I think that AEA's current staffing plan has a much better chance of success than the San Francisco office has had in the last ten years.  However, I fully support the call for more transparency and accountability in the council's actions.

I know how to be a member - file my contracts, pay my dues, obey the agreements - but I didn't know in what manner I was represented by the union.  I've dealt with Business Reps in terms of understanding agreements; as many of you know, I'm often misunderstand the sticky stuff.  Somehow, I never understood the difference between AEA staff positions and council positions.  It's like the staff is separating members from councillors.

The council structure of AEA makes the laws, negotiates agreements, and amends our constitution, with advice from the staff positions; the staff structure executes the day-to-day operations of the union, lobbies with our country's government on our behalf, and deals with press and public.  The council positions are elected and volunteer (i.e., un-paid); the staff positions are hired by the council and are paid.  My question is, how much does the council rely on the staff for information and recommendations?  How much power does staff, in a practical manner, wield in terms of governance? 

I've always been pretty blah about voting in AEA elections, because I never know any of the people who are running (except VSM, through these boards) and I didn't understand what their responsibilities were.  The bios and personal statements in EQUITY NEWS have always been missing something - voting records.  We don't have party affiliations (Republican/Democrat), which are really a shorthand for voting records.  Are my councillors representing my interests?  They may very well be; I'm sure they are; but is there any way I can check?  I can't go to the meetings, I'm in San Francisco.  I always thought that SF-BAAC had a handle on that, but they clearly weren't part of the deliberations about closing our office.  So maybe I should know who's representing me and how to contact them and get a response.

One thing this night has taught me is the desperate need for each union member to become educated about our union and to get involved in the workings of the union.  Like I say to many complaining actors, "It's your union--fix it!"  Now that I have found myself in the position of complaining, I'm going to take my own advice; I'll start sitting in on BAAC meetings and I'll look into committee work.

205
The Hardline / Re: LORT - Rehearsal Questions
« on: Oct 04, 2008, 02:24 pm »
I guess I'm surprised by this because in the majority of votes I've been around, casts have always tried to compress the time they are at the theatre; allowing straight-sixes, choosing one-hour meal breaks, etc.  And I was thinking of the complete cast, not individual cast members.  We've all had to call Lady Bracknell from 10:30am-11:30am and again from 4:30pm-6pm, for instance. 

It doesn't seem so bad in Matt's situation, when a small subset of actors have the long break and the subset changes every day.  But I can't imagine the mutiny I would face if I told my current four-character cast that they were all called from 10:30am - 3:30pm, then 7:30 half-hour call for an 8pm show and 10:30pm curtain down.  According to this ruling, that's what we could do - the rules are the same even though these are very different situations, right?

206
The Hardline / Re: LORT - Rehearsal Questions
« on: Oct 01, 2008, 05:39 pm »

Interesting . . . you know, I have never took the vote as something I was bound to in the meal break issue.  Like for lunch breaks in rehearsal, we have the 1.5 hour or 1 hour.  I always let them vote, but we vote for the option of an 1 hour meal break (Sometimes I can schedule, sometimes I have to get costume fittings in during lunch, so we take a 90 minute break)


Point taken; but the rehearsal meal break rule (50.E.1) has the "If the Theatre has no objection..." clause.  50.E.3 doesn't have that clause.

My interpretation (admittedly, this is entirely subjective, I'm no authority) is that the intent of the 50.E.3 rule was to create a five-hour rehearsal block consecutive to a meal break consecutive to a half-hour call.  Any negotiators on this board want to speak to that?

Now, there's nothing logisitically stopping you from starting the rehearsal earlier, taking a rehearsal meal break, and ADDING your seven rep actors at the five-hours-to-meal-break mark (assuming you have the stage managers to go around).

207
The Hardline / Re: LORT - Rehearsal Questions
« on: Sep 30, 2008, 09:23 pm »
I don't know, Matthew, but it reads to me that the cast voted on what the meal break would be (either 1-1/2 or 2 hours) and that vote should be honored.

I understand not wanting to go to the rep in every situation, but if I were you, I'd approach the deputy before posting the schedule, to get a read on how much flak you'll get.

208
Are you talking about a meet & greet interview, or a call for a particular job on a specific production?

209
Tools of the Trade / Re: Help with my book please.
« on: Sep 29, 2008, 02:43 pm »
I agree with all these responses.  It's what you do with your book, not what it looks like, that matters. 

IF you have had trouble calling cues consistently during performances, or if you are unable to quickly find information that you need, then you should think about how to restructure your book to do that.  If you need any advice on specific questions like that, we'd be happy to help.

210
Employment / Re: Question about names
« on: Sep 02, 2008, 05:25 pm »
TomorrowToday:

If it's a stage management position specifically that you're applying for, I would add your electrical experience in a "Special Skills" section, rather than as a credit equal with the stage manager jobs you've had.

Just my suggestion; I'm not a person who hires others, but that's what I'd do if I were you.

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