Messages

211

Employment / Re: Where and How to look for jobs

« on: Mar 11, 2007, 07:51 pm »

Another site to check out is http://backstagejobs.com/

I don’t have AZ specific advice, but if your main goal is to make connections and gain experience, you could try looking at the websites of the smaller professional theaters in your area, and then simply calling up their Production Managers to ask if they have any non-eq ASM, crew, or overhire positions available. I know several eager young ASM types who got entry-level jobs through a cold call.  Just be ready to take something that is low/no pay, and probably one show at a time, rather than a season contract.  Even if the PM isn’t hiring, you can ask them if they know of any theaters that are, or where you can look to find out about open positions.  If you’re sincere and courteous, you may be surprised at how generous people are with their knowledge.

Also, when you do find that first job, talk to your fellow thespians about where they look for openings, as there may be local websites or email lists that can help you.   

Good luck!

212

Students and Novice Stage Managers / Re: School or work?

« on: Feb 28, 2007, 10:38 am »

Ask yourself whether going back to school will make you happy.  Are you someone who loves learning, and being a student, or do you dread homework and quizzes?  I started a Masters program after about a year of being out of undergrad and working, and realized within a (very expensive) semester and a half that I liked the idea of being in school more than the reality of it.   

Also, I don’t know that you need to pressure yourself to make this decision now.  One of the best SMs I know started working in theater fresh out of high school.  After more than ten years in the biz, he decided to go to school for a degree in a completely different field.   You do have a college degree, even though it’s not from a four-year program.  If you decide to continue your education later in life, you’ll have a clearer sense of your goals, and have time to save some money for it.   

There are many different paths to a successful career as an SM.  If you like the one you’re on, if you feel it’s taking you where you want to go, I’d stay on it.  But trust your own instincts about which way to go, and know that neither choice is right or wrong, they are just different, and you can make the best of either.

213

Stage Management: Plays & Musicals / Re: Tense Director During Tech

« on: Feb 26, 2007, 01:49 pm »

A lot of great points have already been made.

I’d add that it’s healthy to vent your feelings in some way; writing in a journal, or talking to non-thespian friend about the situation to help put it in perspective.  If you keep your frustration bottled up, it will be harder and harder to stay calm and positive, and people will likely notice that something is under your skin, no matter how good your poker face is.  Just be cautious about your tone and word choice if you end up venting to co-workers.  Make sure they are truly trustworthy; you don’t want to come across as having a bad attitude, or have the wrong person overhear your conversation. 

When I’m dealing with a “challenging” personality, I try to remember that we’re all on the same team, working to make the show the best it can be…we just have different means to that end.  I try focus on the things that are going well or making me happy, anything from the TD who brought in donuts, to the actor who always has a new and hilariously bad pun to tell me backstage. 

214

The Hardline / Re: Scheduling Actor Haircuts

« on: Feb 08, 2007, 12:09 pm »

I also consider haircuts as falling under the costume fitting category, and therefore have used the allowable outside-of-rehearsal fittings to get them accomplished.  Since the SPT book groups “clothes and makeup” together, and includes hair notes in that section, too, I’ve always assumed the intention is that “costume” includes hair and make-up as well as clothing.   

....the 60 minutes of fittings outside of rehearsal that they are allowed each week.

60 minutes each week sounds pretty darn useful…in SPT, we’ve only got a total of two costume calls outside of normal rehearsal hours for the whole rehearsal period.  The sessions may be up to two-hours in length, though, so maybe it works out to about the same amount of time in total if you have a short rehearsal period.

215

The Hardline / Re: Another Fitting Question

« on: Feb 03, 2007, 12:31 am »

I work mainly in SPT, and if I was in your situation, I’d politely tell the designer that a 10am fitting just is not possible given AEA rules.  I would probably also get the Production Manager in the loop, to see if they can help with scheduling the designer to be in town at more useful times.  The designers I’ve worked in SPT settings have always expected to work around our rehearsal schedule; is it possible the deisgner in your case also knows this, and just figured that asking you to bend the rules for them was worth a shot?         

a number of our actors also work administratively, so they will sneak into a 2PM fitting.

If an actor initiates something like this, I don’t know that I’d oppose it, even though it’s not by the book.  But I do not think it’s appropriate for the designer, or an SM,  to ask that of the actors.  It puts the actors in a bad position; they may worry that they can’t say no because it will hurt their relationship with the designer (and they’ll therefore end up with a costume they’re unhappy with).   To me there is also a big difference between a 10am fitting and 2pm fitting when the rehearsal isn’t until 6pm.  2pm you could possibly justify if you released the actor at 9pm (2 hour fitting consecutive to 5 hour rehearsal call  as per SPT Rule 44-L (even if in reality they get a 1/2 Hour fitting, then a break until 6pm when real rehearsal starts). 

Matthew is onto something with having fittings during rehearsal hours.  You can do this even within your 5 hour block.   For example, if John Doe isn’t in the first scene, call him at 6pm anyway, but have him do a fitting from 6-6:30, then join the rehearsal when you move on to scene 2.  Or plan to let the actors out for 15/30 minute fittings at various points during the regular rehearsal hours when they won’t be needed in the scene.  Just make sure the director knows the actors who’ve had fittings still need to be released at 11pm (they can’t keep anyone later to make up time they were out of the room). 

I’ve even done this with a two person play where both actors were onstage the entire show; each character had a long speeches or detailed moment that the director could happily work on with just one person for half an hour while the other actor was out of the room. 

216

Students and Novice Stage Managers / Re: Paying for parking

« on: Jan 26, 2007, 02:13 pm »

I feel your pain.  Parking sucks.  But so does paying for gas, getting your oil changed, and replacing a flat tire.  Still, anyone with a car to drive and a work place to get to in it  needs to plan for these expenses.  I don’t think you’re entitled to free parking, regardless of the company’s size or budget.  Getting to and from the theater is up to you, just like it’s up to you to be there on time.  If the theater can help you with parking or transportation, that’s a huge bonus to be thankful for, but it’s certainly not a given. 

When the show moves down to its performance venue this weekend for tech and beyond, I was told I might have to pay for parking, which is *ten dollars* a day. As an un-paid PA, I refuse to do this.

“Refuse” is a pretty strong word.  You’ll probably be better off politely asking for suggestions and solutions to your potential problem before issuing an ultimatum.  If there’s been a change in the parking situation, you have a better chance of getting some help than if you just didn’t ask/find out about it sooner.

I would assume our Union cast members will throw a fit and ultimately the Union will step in

As an Equity SM, only once have I had my parking covered by a theater.  During daytime rehearsals, I usually take mass transit.  During tech and performances, I take my chances with street parking and figure a ticket or two is just the cost of doing business.  I’ve never worked in a situation where all actors had parking covered; it’s usually something they need to negotiate individually.  As a non-eq, I also never had parking covered by the theater.

Would it be entirely inappropriate to tell stage management that I cannot do the show unless I am provided with a ride to and from the theatre free of charge or they get this taken care of?

If you phrase it like that…yes, inappropriate.  You can certainly tell your SM that you are very sorry, but cannot afford the cost of parking, so you’ll have to resign your position with the show.  They may be unhappy, but if your work has been stellar up to that point, they could still hire you again.  But demanding that the SM fix your problem is ineffective, and won’t make you look good at all.  Besides, the SM in a large theater doesn’t usually control the budget; it would probably be up to the Production Manager to try to figure something out. 

217

Stage Management: Plays & Musicals / Re: Runsheets

« on: Jan 24, 2007, 01:37 pm »

I just started a Run Sheets thead in the Uploaded Forms forum, and posted some examples there.

218

Uploaded Forms / Run Sheets

« on: Jan 24, 2007, 11:36 am »

Attached is an excel document with examples of 6 different run sheets (click the tabs to see them all).

I adjust the run sheet format to suit the needs of each show, and reflect what makes sense to the backstage crew.  On some shows, a specific person is assigned to SL or SR, so names are only included if they're doing something away from their usual post.  I try to include as much detail as possible, so that someone could take over based on the run sheet with minimal additional instruction.  I had a good laugh looking back at these run sheets…how many jobs have you  ”move Cupid’s wings” each night? 

219

The Hardline / Re: Straight 6, 5 and 4

« on: Jan 17, 2007, 05:17 pm »

In SPT, the Straight 6 counts as 7 rehearsal hours.  The Straight 6 is a great option to have, but keep an eye on all the caveats that go along with it (contract riders...24 hours' notice...only on weekends for categories 1-4...fun stuff :-).   

220

Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Jan 07, 2007, 11:48 pm »

What are people's opinions on this?  Do you think that's true?  That dressing casual reads as a casual approach to the job?

No, I don't think casual dress reads as a casual approach.  Every stage manager has a different style, and I think it’s fine for that to be reflected in your clothing.  Taking cues from the other theater staff, as you mentioned, is a good idea, and theater folk tend to be a quirky bunch, so you'll probably notice a wide variety of clothing choices.  Wear what makes you feel comfortable and confident, and able to do the literal heavy-lifting that often comes with SMing.  All I ask is that you don’t share your undies with the group.  I do NOT want to see your leopard print thong every time you sit down, so please tuck in your shirt or otherwise mind the gap back there. 

Or that me dressing casually effects me getting a job or not?

I wouldn’t wear jeans to an interview, even for a theater job, but anything neat and professional should be fine.  Once you’ve got the job, it’s hard to imagine clothing being the deciding factor in whether you get another with the same company.

221

Stage Management: Plays & Musicals / Re: Who runs your production meetings?

« on: Jan 06, 2007, 06:35 pm »

It's been my experience that someone from Production Management usually runs the production meetings. In some cases I've seen an Artistic Director lead them, though a production manager was also present, and would presumably be following-up on matters. I've occasionally been asked to take and distribute notes from meetings, or even type up a meeting agenda, but have not yet had to officially run one. 
 
Since the designers, TD, Costume Shop Manager, and other staff usually report to the Production Manager, not the Stage Manager, it seems to me a PM type would want to be actively involved in the meetings.  They can make/enforce/support decisions, and are ultimately responsible for providing the show with what it needs technically.  The SM doesn’t have that power, so while you can certainly lead the meeting as far as asking questions and giving everyone in the group a chance to speak in an orderly fashion, I’d want to make sure the PM would be the one making sure discussion turns into action.

222

Students and Novice Stage Managers / Re: Hi from the deep South....

« on: Jan 02, 2007, 01:26 am »

I've had positive experiences with “older” crew members. At 32, you’re a spring chicken compared to those that come to my mind; one was 37 when we first worked together, the other in her late 40s.  I’ve also had two terrific 35ish board ops.

The forty-something was exploring new career options, and took a resident non-equity ASM position with an SPT theater for a season.  I crewed a show with her, and everyone appreciated her calm, responsibility, and drama-free-ness.  The SM trusted her enough to let her take the costumes home each night to launder them there rather than at the theater.  The thirty-something and I became friends as well as frequent co-workers; she’s great at making actors feel welcome and comfortable, and I think a lot of that comes from her own self-confidence, something many of us only gain over time.   She’s not intimidated by intense Artistic Directors or discouraged by emotional actors, and can always be counted on to deal with problems professionally rather than taking them personally. 

The most important quality I noticed in the above folks was an eagerness to learn, whether the lessons came from someone with decades of experience in the theater, or from a stage manager who was more than 10 years their junior. 

So go for it…Choose Theater!  It sounds like you have a lot to bring to the table.  Just make sure you’re truly OK with taking direction from those who are younger than you, since there’s a good chance you'll end up in that situation. 

223

Stage Management: Plays & Musicals / Re: Maintaining

« on: Dec 21, 2006, 12:40 pm »

I agree that the idea is to maintain the director’s intent, and that a certain amount of growing or settling after a show opens isn’t necessarily in conflict with that goal.  Actors are human, and the stage isn’t a film screen where every second will be exactly the same each night; that’s part of the joy of live theater.  That said, whether or not a change is for the “better” is pretty subjective.  Sometimes a small change made by one actor getting more “comfortable” can lead to a chain reaction of other actors making their own changes in response.  In practice, you just need look carefully at each specific situation, and use your best judgement as to whether the director would support that change or not.   

Often I try to take some artistic notes during rehearsals for just this reason, so I can look back at key directions.  Ideally, the director and I chat briefly before they leave about what moments I should specifically keep an eye on, and where they think further development would be OK.  I’ve also been in situations where I’m communicating with the director after the show opens, and I can specially ask them if they think it’s a problem for, say, James to smile more in his Scene 2 monologue. 

Giving actor notes can be tough.  I do think that a quick chat, in private, is the way to go. Tailor your approach to the specific actor, and don’t take a negative response personally.  I like to watch for a few performances before I give a note (unless it’s something like a safety issue) to make sure it’s not just a fluke.  I also try to ask the actor about the moment, and see if they volunteer a reasonable explanation for whatever they’re doing.  Let them know what your concern is, and if they’re ornery about the note, ask them to at least think about it or try it and then talk to you again.  Ask if there’s anything you can do to help…sometimes a preset or Qing issue can be at the root of a change.  If it’s blocking, you can always blame lights (there’s a Special for that scene; if you move it to DSR you’ll be in the dark!).

Here's another thread related to this topic:  http://smnetwork.org/forum/index.php/topic,912.0.html

224

The Hardline / Update on Breaks During Run-Throughs

« on: Dec 14, 2006, 02:52 pm »

The answer I got from Equity is that it is “a given” that if a performance does not have an intermission, we CAN do a true Run Through (uninterrupted for notes) during the rehearsal process, without stopping for the usual break after 80 minutes of work.  However, this “given” indeed is NOT in writing anywhere in the SPT rule book.

This advice came after the Design Run for me, but all of my actors were fine with running straight through anyway.  It was the last thing we did that day, so they got to head home a bit early when it was over.  I’ve done this before, incidentally, with the agreement of the actors, but in those cases the shows were closer to 90 minutes, so it seemed like less of a stretch.

I expressed to my AEA rep that I’d love to see something like the LORT rule 50(E)(2) in the next SPT book to clarify this issue, and he said I should send an email to that effect and he’d pass it along to the committee.  So, colleagues, if you feel the same, please consider contacting your reps about it as well.   Seems to me that it would be helpful for both producers and actors, and leave one less issue for debate if we can just open the book and point to the rule…or exception to the rule. 

P.S.  Matthew, you had a one act play.  You gave it to me for my birthhday (about 200 intermissions ago, for you), remember?  Besides, this is only my 10th Intermission Free show in a row...nothing special, really, I'm sure   

225

The Hardline / Breaks During Run-Throughs

« on: Dec 12, 2006, 09:52 pm »

I’m in rehearsals for a three-actor, intermission-less show, which is currently running close to an hour and fifty minutes.  The director thinks we should be able to run through the entire show without stopping for the usual 10 minute break after 80 minutes of work.  I agree with him that it’s darned inconvenient to stop in the middle of, say, a Design Run, but I can’t find anything in the rule book (SPT contract) that says that it’s OK to blow through the breaks. 

How would you handle this situation? Is there a rule which would grant an exception to the regularly scheduled breaks under these circumstances?  Is this a situation where you would just run the show straight through, unless an actor specifically objected to doing so, regardless of what the rule book says (now that I think about it, we do just that for Dress Rehearsals that are not open to the public all the time)?