Messages

211

Stage Management: Plays & Musicals / Re: Good Rep Daily Call Form

« on: Aug 16, 2007, 09:15 am »

This is very similar to the schedule I use when I'm working on a musical and have rehearsals going on in three spaces.  I have a column for each rehearsal hall and make sure to visually line-up all call times so that it reads easily.  Costume fittings and/or other calls are listed at the bottom.  I use Excel.  

I do like that you have the actors calls all listed down one side of the page.  I usually have mine listed at the bottom next to a notes/announcements box, but I have a show with a cast of 31 coming up so I think I'm going to steal your idea ;-).  

And I do agree that having it all on one schedule is going to make it easier on everyone.  Since most of the actors are in both shows, having only one document that they have to look at that has everything on it will cut down on the "oh, I didn't think I was called; I guess I only saw the schedule for Show A."  

212

The Hardline / Re: Being offered my card, good idea?

« on: Aug 14, 2007, 01:30 am »

The Taft-Hartley act was also discussed in this thread.  Best of luck to you as you make your decision!!

213

Stage Management: Plays & Musicals / Re: Calling a warning for a cue

« on: Aug 03, 2007, 10:11 am »

I think if I was working with a union crew, I would lose the warnings on the deck transitions and just call standbys.  However, my crews typically consist of interns, some of which are high school interns.  I don't mean to generalize as some of the interns I've worked with are better than some of the professionals I've worked with, but with an intern crew I've found out the hardway that the extra heads up is often needed to make sure they're in place by the g-o.   

214

Stage Management: Plays & Musicals / Re: Calling a warning for a cue

« on: Aug 03, 2007, 01:49 am »

For lights, sound, and projections, I typically only give a standby.  I generally only use warnings for deck cues to ensure that the crew has plenty of prep time to be in place for transitions.  In the warning, I'll list all parts of the transition, then when it comes for the standby, I'll just say standby transition X.   A typical call sequence from when I did Cinderella was:

Warning Transition 5A
Fireplace, Door, Window, & Table OUT & the Pumpkin Panels IN
Warning Transition 5B
Pumpkin Sliders & Black IN


Standby Lights 60 & 61
Standby Transitions 5A & 5B
Warn QLites #1 & #4


Lights 60 & Transition 5A GO


Lights 61 & Transition 5B GO
QLites #1 & #4

I use Standy By's, Wind Ups, and G-Os. 

I typically refer to the wind-up as loading the cue, which I picked up from a stage manager that I was shadowing to take over the run of a show. 

215

College and Graduate Studies / Re: Internships?

« on: Aug 02, 2007, 04:21 pm »

I second what Rebbe says about the DC theatres; several theatres offer internships, and it's a really great theatre community.  I did my internship at Olney Theatre Center and can give you a first hand account if you're interested; just PM me.  Roundhouse Theatre and Arena Stage also offer internships/apprenticeships, but I'm not 100% sure that they offer housing.  You can find links to all of the major DC theatres by following the LOWT link that Rebbe posted. 

216

Tools of the Trade / Re: IM Programs in Rehearsal

« on: Aug 02, 2007, 10:09 am »

The theatre company I work with uses AIM to communicate with one another during the work day.  I typically keep mine signed in, sound off, with an away message that says "in rehearsal, next break at approximately _____."  This way, the staff knows when they can drop by the rehearsal hall and/or when I'll be available to talk.  I will occassionally use it during the rehearsal if I need an urgent response, but the majority of the time I will just check it and update it on the break. 

As for texts, I think that they are a great, non-intrusive method of communication.  If I get a call from an actor, I usually send my assistant out with my phone to answer it; with a text, I don't have to leave my table because I can discreetly check the message. 

217

The Hardline / Re: Equity "half-hour"

« on: Jul 23, 2007, 09:35 am »

That's a fantastic document; I had never read it before.  Thanks for posting!!

218

Employment / Re: Finding Jobs

« on: Jun 08, 2007, 01:29 am »

Two great websites to check out are Artslynx and backstagejobs.com.  The first is basically a listing of various resources (print and online) for finding theatre jobs (not just stage management) and the second is a listing of job postings broken down by job category.  There are also a couple of threads on this forum about internships and apprenticeships, so you could try a search of the boards.  Best of luck to you!!

219

Employment / Re: Mileage for Non Union

« on: Apr 30, 2007, 03:30 am »

The IRS standard mileage rate for 2007 for business transportation is 48.5 cents per mile. 

Equity transportation reimbursement for an actor who elects to drive their own vehicle in lieu of the theatre arranging for his/her transportation is usually equivalent to the cost of a ticket for the appropriate mode of public transportation (i.e. train or airplane) that would have otherwise been used.  This may be negotiated at a higher rate. 

However, as you are not working under a union contract, it is between you and your employer as to the amount of your travel reimbursement.  Are there other options: do you have to drive there; does the theatre have a company car you could use while there; what is the public transportation system like; is there someone else you could carpool with?  I'd suggest that you weigh your options before walking away from the job. 

Good luck in your negotiations. 

220

Students and Novice Stage Managers / Re: First Tech Rehearsal

« on: Apr 28, 2007, 11:08 pm »

Don't forget to eat, stay hydrated, and delegate tasks!  I almost passed out my first tech because I was running around trying to do everything myself and forgot to eat or drink any water.  It made for a very unpleasant day. 

221

Stage Management: Plays & Musicals / Re: What's my job again?

« on: Apr 16, 2007, 08:41 am »

It's true that even in the "real world" there are directors who attempt to micro-manage every single aspect of the production, including the job of the stage manager.  With this kind of director, I try to be at least two steps ahead of them at all times so that they get that I'm on top of things and know how to do my job.  A smile and a gentle reminder can work sometimes too.  There are all kinds of personalities out there (and not just among the directors--actors, designers, technicians, theatre management, etc) and part of being a stage manager is learning how to deal with each of them.

Something I do that might help with the being on book/taking line notes issue is to mark mistakes in my script (circle around changed words, line through dropped lines, double ended arrow showing inverted words, etc) and then go back at the end to write up the line notes.  This keeps your eyes on the book the whole time, and I can usually crank out the line notes in the time it takes for the director to give the cast notes.  These are also more accurate because you catch almost every mistake as opposed to the ones you miss when you're writing up notes and not looking at the book as closely.  You can use a pencil and erase as they get better or use different colored pencils each run.  Hope this helps!!

222

Students and Novice Stage Managers / Re: I need some serious help!

« on: Apr 04, 2007, 10:28 am »

I agree with Balletdork that you should not walk away.  This production sounds like it needs a calm, organized stage manager at the moment to cool down some angry heads.  And it also sounds like a company meeting is definitely in order. 

That being said, I have never heard the idea of "freezing" a new script two weeks out from tech.  All of the new works I have worked on have changed (new scenes, new dialogue, new blocking, etc) up until the final rehearsal and were not "frozen" until opening night.  Even on productions that aren't new, I've had directors re-block entire scenes during preview week because they fell flat when in front of an audience.  I know that it can be frustrating to actors, so the SM has to be on their toes keeping up with blocking changes so that they can answer questions from the cast/director as to "what am I doing here now?" 

Best of luck to you; definitely keep us posted!!

223

Employment / Re: Job Reference

« on: Apr 04, 2007, 10:15 am »

In the end, you do have to be careful with references; both from giving a negative as well as giving a false positive.  (I hate these – according to every resume and letter of reference I get for internships, most young SMs out there should be stage managing on Broadway.)

LOL.  I know exactly what you mean.  I see this all the time with the applications that come through my theatre.

This is why I am much more likely to contact a non-listed reference off you resume if I know them personally.

My 2 cents.

This gets into trickier territory (and was discussed at length on this thread).  I suppose we should all remember that theatre is a very small world and anything listed on our resume becomes fair game in the hiring process.  You really never know who knows and/or has worked with whom... 

224

The Hardline / Re: LOA?

« on: Mar 31, 2007, 08:49 am »

Since many theatres hire staff way in advance (I was offered a show in July '06 that doesn't start rehearsal until October '07), they often issue an LOA after an offer has been made, negotiated, and accepted.  The LOA basically serves as an assurance to you that you have a job at the theatre and an assurance to the theatre that they have an SM.  The AEA contract is then sent out later, about a month or two out from the beginning of rehearsals.  Equity tells theatres how many contracts that they are allowed to have open at one time based on the amount of their bond and the cast sizes for the season. 

However, if you are referring to an LOA for a non-union job, then that is likely your contract with the theatre.  You should contact the Company/Production Manager to confirm (contact info will likely be on the cover letter sent with your LOA).   

225

Stage Management: Plays & Musicals / Re: Keeping it Straight with BIG CASTS

« on: Mar 23, 2007, 10:09 am »

Make yourself a cheat sheet by taking digital photos on the first day of rehearsal (or scanning headshots, if available, though headshots are rarely a true representation of what a person looks like in real life). Whoever is taking the pictures should write the actors' names down, in order, as the pictures are taken.  Assemble the pics into an album either by having prints made, doing it through Word or a picture album program, or simply using the Print function on the Windows Photo Wizard, which allows you to print up to 9 pics to a page.  Take the printed photos and write names underneath them.  You can make copies of the final document for the entire SM team.  This is similar to what we used to do at the summer theatre workshop until we could remember the names of all of the students. 

Alternatively, I'm guessing you're working with at least two assistants on a show of this size.  Divide the cast into sections, such as chorus men, chorus women, and principals, and assign a group to yourself and each of your assistants.  Learn the names of that group of people, and lean over to your assistant to ask names from their respective sections.  As the show goes on, you're likely to learn the names of everyone, but until that point, make sure that collectively the SM team knows the name of each cast member. 

So, what show are you working on?