Messages

196

Employment / Re: Moving for a Career

« on: May 29, 2009, 11:43 am »

I have always moved because I had a job lined up.

I got a job out in Washington State and I drove from New Jersey out there. I rented an apartment from pictures I saw online. The apartment was great, the only problem with it was that it was right next door to a minimum security prison! 

Driving cross country was more exciting then the job. It was agreed upon both the theatre and me that I should seek other employment when the contract ended 9 months later.

I had all intentions of staying and making the Pacific Northwest my home, but a theatre in upstate New York called me, and I moved back east. I dropped my stuff off at my parents and went into actor housing.

The one show turned into 4 years of work. I left that job for the current job I have now. I wouldn't mind setting roots where I am now but I could be looking for a change if the job was right.

197

Employment / Re: How Much Is Too Much?

« on: May 04, 2009, 12:56 pm »

I agree. Take the job, and apply for anything else.

198

Employment / Re: Interesting Article about Actors in Non-Profits, but a good read in general

« on: Apr 24, 2009, 11:33 am »

That was a great article! Thanks for sharing

199

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

« on: Apr 14, 2009, 10:59 am »

I can't add too much except to hang in there.

I have a non theatre friend who has been laid off since December. She has been getting creative in getting extra money: organizing photos for a family member, transcribing notes for another family member etc.

Things will get better.

200

The Hardline / Musician's Union and Stage Managers

« on: Apr 06, 2009, 02:17 pm »

Does anyone know where I can find specific rules regarding the Musician's Union? I've been on their website, and it gives a broad overview of the union.
Or has anyone worked with the Musician's Union? How was the experience?

Thanks!

201

College and Graduate Studies / Re: Any current/graduated Boston University SM students?

« on: Apr 02, 2009, 01:57 pm »

They are phasing out the SM grad program (I am the last one)

Feel free to contact me as I take classes along with the sm undergrads.

202

The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: Mar 31, 2009, 02:39 pm »

I work closely with the Huntington Theatre.

Like many theatres, they need money. However, I have not heard anything about closing.

203

Employment / Re: Unemployment Benefits Claims??

« on: Feb 12, 2009, 01:08 pm »

I'm glad that it is getting worked out. I have filed for NY unemployment many, many times and I got my benefits without a problem.
Stay on top of it, and hopefully you'll get a check soon

204

Employment / Re: Being new during tough times...

« on: Feb 09, 2009, 01:32 pm »

I'm sorry that this happened to you.

Realize that it is nothing personal. They are trying to stay afloat.

Even in good economies, it's a full time job getting a job. Like others have said, you may have to look outside of theatre to get a job to pay the bills.

I've said it before and I'll say it again: This too, shall pass.

205

Employment / Re: Sending resume/cover letter to Broadway shows?

« on: Jan 27, 2009, 11:05 am »

I did the same exact thing you did many years ago. I think I did get a few responses, but it wasn't worth the money ($25 a copy was a bit steep for me!)

With any job, it is all about networking. Sending resumes won't hurt, but don't expect a high return from them.

206

Stage Management: Plays & Musicals / Re: Costuming the Crew

« on: Dec 22, 2008, 10:33 am »

Years ago I was ASM on Adventures of Huckleberry Finn and backstage crew had to appear in costume. Because I had to climb in and out of traps, I requsted that I had a male costume. I felt that it would look silly to see a woman in a dress climbing out of a trap.
Having crew in costume was a good way to keep the play going instead of having countless backouts and scene changes.
I saw a production of "A Christmas Carol" where the crew was on stage striking furniture in their blacks. It wasn't a blackout, and it was distracting.

207

The Green Room / Re: I can't believe I just had to do that...

« on: Dec 12, 2008, 11:01 am »

On one show I had an actress who liked to "go commando" under her clothes.
I didn't know that she did this until she had her first fitting and the costume shop called me.
So I had to remind her to wear undergarments when she had fittings

I worked on a film where we had to locate a dead deer. It had to be freshly dead, and in one piece. We were so desperate that the producer said one day "Whoever finds a dead deer today will get a producer credit!" I had to drive up and down the New York State Thruway in search for a fresh, dead, deer.

The props department ended up making a dead deer.

208

SMNetwork Archives / Re: Just neet to vent...

« on: Nov 18, 2008, 09:42 am »

I'm sure I'm not the only one to have to deal with this, but it's the first time it's happened to me and I am sad, angry, disappointed, etc:

I was asked by a friend to ASM an off-Bway show with her as the SM. I was excited, she was excited. There was excitement.

I spoke with my superiors at my day job about this, and they were willing to keep me on salary (!!!) if I could commit to 1 weekday in the office and 2 evenings after rehearsal. Amazing. It turns out that the director wants a Sunday's off schedule for rehearsal, which would mean that the Monday I would plan on coming into the office is now a missed day of rehearsal. (Not to mention conflicts with actors going to auditions, etc.) The SM pleaded her case, and mine. She finally got the director to agree that one day a week was ok since he wasn't going to change the day off, as long as my friend, the SM was ok with this. Which she was.

Cut to today: My friend emails me saying that at the pre-pro meeting today, the PRODUCERS decided that despite the director and the sm's support, it was entirely necessary for the ASM to be at every rehearsal. This was not a money issue. I actually offered to take a 1/6 pay cut or find a replacement for those 3 days.

ARGH. I'm just so ANGRY. I've worked very had this past year to make some headway and finally I am beginning to, and then this. The most annoying thing is that the contract doesn't pay enough to just take a leave of absence from my day job, and having just spent a lot of money moving (I had no furniture coming to NY) I can't afford to not have the income.

I think what bothers me the most is that my day job, which has absolutely nothing do to with theatre was willing to give me 4 days a week off to pursue this opportunity, and the theatre company wasn't willing to give me 1.

Grr.

End rant.

That really sucks. I'm so sorry to hear that. Try to think of it as it wasn't meant to be. Something else is out there waiting for you. Something better!

209

Stage Management: Plays & Musicals / Re: When the show is going bad

« on: Nov 17, 2008, 12:58 pm »

Scooter's analogy is an extreme example of the situation, but oddly I have been in very similar situations - unsafe set design and inappropriateness on a show that is schedule to have multiple school performances.

I think the core question at the heart is, is there ever a point when you are watching the show where it might be so BAD, so different then what is being advertised, so different then what the artistic director/producer are expecting - do you feel have the responsibility to speak up?  How you speak up is the next step - and most of agree, that really want you would prompt is either the artistic director/producer coming to rehearsal, or, at the very least, starting a conversation.

Now, there may also be a situation where both you and the director agree the show is going bad - wrong casting - bad scenic design - not enough rehearsal time - whatever - it may not be a situation where you are "snitching" on the director . . . .

(I know that I come from the perspective of being NOT a free-lance SM, but a resident SM, and have a very big investment in the theatre, not always the director.)

I worked on a production where the director was, to be blunt, bad. The actors hated him, and expressed this to me.
The producer on the show had a really bad experience with another stage manager, so he said to me "If there is any problem, any problem, please let me know." So I invited him to a rehearsal.
Right before tech they fired the director.
I was a young stage manager, and if the producer didn't speak to me I probably wouldn't have said anything. I think if the actors are really uncomfortable, there is plenty of tension and they talk to you about it, it might be best to talk to the producer.

Another experience was with an actress. She was bad. The director hired her mainly because she was pretty. He gave her lots and lots of notes after every preview. He knew she was bad. The actors knew she was bad. After the director left I gave her plently of notes after each performance, and I scheduled a brush up rehearsal with the Artistic Director (after I got permission from the director). That's all I could do. The actors did their best, and counted the days til closing.

210

The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS

« on: Oct 29, 2008, 11:49 am »

I think we are going to see more of these notices....

Stamford Theatre Works, the Connecticut-based, non-profit equity theatre company, has announced that it will shutter in the midst of its 21st season.

Neil LaBute's The Mercy Seat, which ended its run Oct. 5, will have been the final production of the 20-year-old theatre company. John Cariani's comedy Almost Maine had been scheduled to begin performances Nov. 5.

STW founder and producing director Steve Karp said in a statement, "Over the last five years, our ability to raise money could not keep pace with our increasing operating expenses, and we found ourselves with an overwhelming accumulating deficit that has left us without sufficient resources to produce the currently scheduled production of Almost, Maine or a realistic projection of how we can produce the rest of the season."

The Stamford company points to severe reductions in corporate and private sponsorship as a major factor in the decision to dissolve the company. While STW cites positive press and 1,300 annual subscribers (90 percent of whom renew annually), the company said that ticket sales account for only half of the Stamford Theatre Works' annual budget.

The 2008-2009 season at Stamford Theatre Works was to include John Patrick Shanley's Defiance, Tom Dudzick's comedy Greetings and Michael John LaChiusa's First Lady Suite.

Stamford Theatre Works had also intended to present the 2008-2009 season at its new home, the Stamford Center for the Arts. However, the Stamford Center filed for bankruptcy in August, scuttling plans for the move and ultimately leaving the Stamford Center for the Arts, and the theatre designed specifically for Stamford Theatre Works, unfinished.

Founded in 1988 by Karp, Stamford Theatre Works offered nearly 100 professional productions during its two decades in operation. Stamford Theatre Works received grants from the National Endowment for the Arts and numerous awards from the Connecticut Critics Circle for outstanding work, including "Outstanding Contribution to Connecticut Theatre" in 1997.

"If there is any hope at this time for a professional theater of STW's caliber to continue, it resides in some community entity or combination of concerned individuals who believe that such a theater organization should exist," Karp added. "Though I will not lead this producing effort myself, I would be eager and interested, should I be asked, to preside over the artistic programming of such a financially viable enterprise."