Messages

2101

Employment / how long

« on: May 08, 2006, 11:22 pm »

I don't think there is a standard.

I have to admit, that are times I forgot to send out notice I have filled a position to all people who submitted resumes.

2102

Employment / schooling

« on: May 04, 2006, 11:13 pm »

Wait a second, let me get on my soapbox and preach the good word of education for the stage manager.

Yes, yes, stage management is something that is best learned by doing, but what do you think you are doing in grad school?  Um, stage managing that's what.  Plus, lots of time to discuss your work, be surrounded by like minded stage managers, working on shows much larger then you would be out in the real world, in a safe environment.  It also gave me some specializations in dance that I would not have had in the real world - no one would have hired me for the scope of dance productions I was assigned.  And, I was working with a support staff of a major regional theatre.  Again, before grad school, working small, non-equity gigs - grad school huge shows.  But like any grad school, you only improve what goes in, and how much improvement is based on how much work you put in.  Many people can be a B- stage manager, go to grad school, and come out a B+ stage manager - which may be good enough.

As far as being arrogant and lazy . . . hmm, maybe arrogant, but working 80 hours a week, 52 weeks a year would not peg me as lazy.

Having the MFA is just one more guarantee that I know what I am doing.  When people look at a resume, they are looking for some sort of guarantee that you are going to be a success at their theatre.  Trust me, I am pouring over resumes right now looking for one to pop out and scream, I AM RIGHT FOR YOU.  Things I look for - 1) SM experience at a major, top tier regional theatre, 2) The fact you have been hired at the same place more then once, 3) proven track record of working in an established producing organization (as opposed to just being a freelancing swooping in), 4) worked with people I know, 5)formal training.

There are a lot of people who don't put an emphasis on the formal training, but I do - because I know what I got out of my formal education.  BUT, it's not a make or break point; it's just one more thing that can help me like I know this person will do a good job.

There are a lot of people who do do this job, starting off as an intern, moving up to ASM, and then finally to SM . . . but I think a MFA level can help make you a strong SM, and help you move up faster.

Finally, a grad school education may not help you get jobs, but may help you deal with the jobs you get better.

2103

SMNetwork Archives / Word

« on: May 02, 2006, 09:23 pm »

I do all my calendars on Word.

On mac, it's easy to save as a PDF.

There is no calendar program I have worked with that gives me the amount of flexability I need to do what I want to do.

2104

Stage Management: Plays & Musicals / Prompt Book

« on: Apr 28, 2006, 05:23 pm »

Basically in America, when you do a show, you are NOT supposed to photo copy the script, unless you have bought a script.  

(For example, if I am doing a script that has been published - I buy the script, and then tear it up once I photo copy it - that way I am doing one copy for one copy).

The reason to leave behind the SM bible (production book, etc . . . ) is they paid you to do the show, do all the paperwork, etc . . . they get to keep it.  Now, if you aren't being paid, I saw screw it.  Often time, a show's production book will be reference if the show is remounted, or people are trying to figure out something . . . like, "How did we do it during that show?"

As far as a director asking for a prompt book, I would ask them to ask the production management for a copy.  I would not give it out.

2105

Stage Management: Plays & Musicals / Large Shows vs Small Shows

« on: Apr 28, 2006, 08:34 am »

I am unsure if there is any special way to track a large prop show versus a small prop show (or for that matter, a medium prop show).

I think it all comes down to documenting from the intial conception of the prop in the report, to an accurate prop list, and then onto a running list.

I feel prop numbers, after years of fighting them, are actually a good thing to help track props (you may have 10 identical chairs, but knowing that rarely are chairs ever TREATED the same, it's nice to track the chairs . . . for example . . . I would the number the chairs 1 - 10, so I can track them during the run, always making sure chair 1-10 were always pre-set and set the way - so if chair 9 keeps break, we know who interacts with that chair, and that chair should be reinforced.)

2106

College and Graduate Studies / URTA

« on: Apr 16, 2006, 03:54 pm »

I did URTA's in California for Stage Management.  It always felt that SM interviews were an after thought - I had to do them in people's hotel room.  Which was not so good - but interesting.  I did recieve two offers from the URTA interviews.  

All in all it's nice, but it does feel like a machine to push people through.

2107

Stage Management: Other / My experience in Dance

« on: Apr 15, 2006, 06:45 pm »

I did a wide vareity of dance while I was in grad school.  There is no real standard way to call dance shows.

If you are calling with a live orchestra, you pretty much should plan on calling from a score.

But, it really depends on how the designer designs the show - if he is giving you visuals to call the cues off, then you may need to do little diagrams or descriptions of the moment.  If he is designing off the music, then you may have to call off a score or timings (if indeed it is recorded music).  But like any show, you have to call it the way it needs to be called - which may be different from show to show.

2108

Stage Management: Plays & Musicals / And the Show Closes . . .

« on: Apr 12, 2006, 04:50 pm »

On the flip side of this, I have not "closed" a show with time off in a long time - that is one of the perks / downsides of being a resident moving from show to show.

I find that this a zen about shows opening and closing, much like life and death.  (someone should hum the circle of life as they read this . . . )  I have found that there is a emptiness, as one can imagine, but I find the opposite true for my way of dealing with it - I try to keep busy.  (I find that downshifting completely can actually lead to a little depression.)  I catch up with friends, try to travel a bit, catch up on other shows I want to see, spend time with my partner - but keeping busy actually helps me fill the void.

My 2 cents.

2109

Stage Management: Plays & Musicals / Callbook

« on: Apr 09, 2006, 05:43 pm »

I actually have found a pretty easy way to make a call script on MS word, with the callout graphic box.  It's complicated to explain, although fairly easy to do.

I can send you a copy of my current script if you shoot me an email to Matthewshiner@stagemanager.net.

Thanks

2110

Employment / RPSM

« on: Apr 04, 2006, 11:26 pm »

As a resident production stage manager, I would say that it varies from every theatre.  There is no real set job description, and is often a fine balance of jobs put together by the stage manager and the production manager.

2111

Stage Management: Plays & Musicals / stars

« on: Apr 04, 2006, 11:24 pm »

all actors want to be treated like the stars they think they are.

celebrities often just want to be treated like anyone else, except a select few who, in my experience, are a little less secure with themselves, then they expect to be dealt with as STARS!

I have found that by treating them as normal people after the third day, there the star struckness wears off.

2112

Employment / Company Management vs Stage Management

« on: Mar 22, 2006, 10:05 pm »

I think it all depends on the company - it's things like this you need to discuss at the beginning to see who is responsible for what - as it could always be up for grabs.

- Matthew

2113

Students and Novice Stage Managers / stage manager agents

« on: Mar 21, 2006, 09:56 pm »

there are perhaps one or two stage managers who have agents, but most of them I know do mostly industrials and not so much broadway.

In the end it is all about personal contacts.

Quite frankly, I don't want to pay 10% of my salary to an agent.

2114

Stage Management: Plays & Musicals / TECH WEEK

« on: Mar 20, 2006, 01:14 am »

hide all guns and sharp objects.

If they have no weapons, they shouldn't kill each other.

2115

Employment / e-mail rant

« on: Mar 17, 2006, 07:07 pm »

I hate anything other then name in e-mail address.

For example:

1) No sexual reference
2) No reference to cute animals
3) No reference to being the "best" SM or anything.

Just be professional.