Messages

226

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

« on: Nov 11, 2008, 08:53 am »

Would you go to the producer if you had a set designer who insisted on creating an area on the set that was unsafe your actors, or a costume designer who designed costumes with the actors' bottoms hanging out for a childrens' show? Of course you would. Professionally, discreetly, however you would need to do it, but it is part of your job to keep everyone informed of what is happening in the rehearsal room.  As everyone has said, inviting them to a rehearsal is a much better way that running in their office shouting "This show STINKS!!!!".  Also think about whether the show is just not your personal taste or if there are real problems that need to be dealt with at the producer level.
Just MHO...

227

Stage Management: Plays & Musicals / Re: Hell Week...?

« on: Oct 22, 2008, 12:48 pm »

Having just finished a tech week for a show with 60 actors, 20 crew, more than 500 light cues, one run with an under rehearsed orchestra before having an audience, with a horrible cold to boot, I understand how it can feel like hell.  However, I have to say that the term "Hell Week" drives me crazy.  Yes, sometimes the hours are long and the people are difficult.  But it is just part of the job.  Do accountants call the week before April 15th when taxes are due hell week?  I don't think so.  As everyone else has said it is a term that is used in high schools and community theatres, but doesn't have a place in the professional world.

228

Stage Management: Plays & Musicals / Re: Prop Recipe Exchange

« on: Oct 20, 2008, 02:30 pm »

For champagne I have also used diet ginger ale.  No sugar or caffeine, and ginger naturally calms the actors' nervous stomach.  It works pretty well for beer also.  For darker beer I just add as much caramel coloring as I need to get the darkness that I want or use diet root beer for something like Guiness.
You can refill beer/champagne bottles with the soda and then recap them and get a realistic opening.  Most restaraunt supply places will have bottle foils/cages.

229

Uploaded Forms / Re: Actor/Scene Breakdowns

« on: Oct 15, 2008, 11:33 pm »

Here is an actor/character/scene breakdown for Follies with a cast of 60 in Excel format.

230

Students and Novice Stage Managers / Re: What to do with too much help!?!?

« on: Oct 02, 2008, 05:41 pm »

Have you thought about using any of them as wardrobe crew?

231

Students and Novice Stage Managers / Re: Dry Ice on stage

« on: Sep 22, 2008, 06:39 pm »

In almost every modern sprinkler system, each individual sprinkler is activated by the liquid in a glass capsule bursting due to the heat. This is the red color you see in the sprinkler. Fog is not hot enough to activate the sprinkler system in this type of installation. There are all sorts of different colors for different bursting temperature.

Thank you for the clarification!  I will amend my statement to say that turning off the particulate sensors may be easier than having to evacuate your theatre when the alarms go off.  (Especially if it is in the middle of a snow storm, which has happened at the theatre where I work.)

SSM

232

Students and Novice Stage Managers / Re: Dry Ice on stage

« on: Sep 22, 2008, 01:37 pm »

One thing to think about with a smoke machine is that you may need to have someone come in to deactivate the particulate sensors in the fire detection system.  This can be expensive, but not as much as trying to dry your theatre out after the sprinklers go off.

233

Stage Management: Plays & Musicals / Re: Spiking on tour

« on: Sep 18, 2008, 09:33 pm »

Is it possible to lay a number line downstage and one upstage or one downstage? That way you could give them 2 reference points kind of like an X/Y axis (ie go to 8SL and angle to 6SR).  They would still have to remember whether they are facing upstage or downstage, but it might make it easier.

You may want to test running the walls over the tape and see how much it gets damaged.  Depending on how many shows you do in each space, and the kinds of flooring/tape, etc you may find that having a line running upstage to downstage on one of the sides is worth it, even if you have to replace it occasionally.

234

Stage Management: Plays & Musicals / Re: Do you have an actor code of conduct contract?

« on: Sep 15, 2008, 07:03 pm »

This is all really helpful.  Thank you everyone!!!

235

Employment / Re: Prior non-theatre experience on resume

« on: Sep 14, 2008, 07:22 pm »

This experience will be a big benefit to you in theatre!  One way to share it is to do a skills based resume, instead of the more traditional show based resume.  As a hirer, if  I have someone who applies who doesn't have as much theatre experience I look for what life skills they have that might make them a good SM.  This is more similar to a "corporate" resume, but will give your future employers an idea of what you can do, not just what you have done.  (It also works for SM's looking for work in the outside world).

Instead of setting your resume up showing this way (or some variation):
Position                     Show              Theatre             Director
Stage Manager           X Show            Y Theatre          Z Director

Try setting it up to show what skills you used at each position, starting with theatre experience and working your way back.  Use active verbs (organize, lead, manage, coordinate, etc) that describe your responsibilities and any kind of specific projects you may have worked on.

For example, after you have listed your theatre jobs, you might list for your software engineer position something like this:

Software Engineer, XYZ Software, 1990 - 2008
Managed team of 15 engineers who developed software product for large client.  Served as liason between client and programming team.  Coordinated deadlines and ensured team was able to meet them.  Lead quality control committee.  Organized data using ABC computer program to create consistent and accurate paperwork for all goverment filing.

You have to sell yourself, but with as much experience as you have, you will be able to identify what those skills are that translate from your other jobs to SM'ing.  Project manager and stage manager are only a small step away from each other, and maturity and a diverse background are a benefit in both.

Follow this section with your education, special skills, (particularly anything that might be helpful in theatre, including computer software you can use) and your references.

As LJH and KMC have mentioned, use your cover letter to help employers understand how your skills transfer, and how your diverse background makes you a better SM than someone without it.

Best of luck!!

236

Stage Management: Plays & Musicals / FORMS: Do you have an actor code of conduct contract?

« on: Sep 12, 2008, 03:35 pm »

I am working with a company (non-AEA) that works in conjunction with a university, and am trying to find some sort of "contract" that we can use with our student actors that dictates what is expected of them, and in return what they can expect from us.  Does anyone have anything like that?
We run our company as close to AEA as we can, including electing deputies, but it would be great to have something that they have signed that says we expect them to be on time, know their roles, show up for fittings, and not add conflicts for rehearsal, and in turn we will give them 24 hours notice for rehearsal changes, not call them when they are not needed, etc.

Any kind of rough draft of something similar would be greatly appreciated.

Thank you!!

SSM

237

SMNetwork Archives / Re: I could have kissed them!

« on: Sep 04, 2008, 04:37 pm »

This is a great thread idea!!

I could have kissed...

...the TD and master electrician for our rep company, who completely rebuilt the tech table after asking me exactly what I would like.  They also reconfigure it (a major project) for a particular designer and me when we work together because we are both left handed and it is easier for us to not collide.

...the actor at auditions last night who was reminding the other actors to not steal the pencils.

...the production manager this summer who, without fail, always had the SM's and crews' backs.  Even if he didn't agree with the decision that we made, he would publicly defend us, and then privately discuss it with us.  I thought it was a really honorable and stand up way to lead a team.

238

Employment / Re: For employers: When do you call references?

« on: Sep 03, 2008, 01:32 am »

"But I have never seen anyone who would put a reference down who would speak badly of said person."

I have been on both sides of this.

Have called a reference who, with in all legalities, basically said the person was a huge screw up, and didn't think they could handle the job, and was upset they were used as a reference.

I have also been put down as a reference for a person I would consider a DNH (Do not Hire).

I have had both of these happen as well.  It is just a good reminder to always make sure that you check with people that you would like to use as references to make sure you know what they would say about you and that they are ok with being used as a reference.

239

Employment / Re: Question about names

« on: Sep 02, 2008, 05:59 pm »

Have you talked to the Production Manager (or whomever your boss is) about it?  He or she may be able to tell you what their response would be if someone called about your work and your job title.  If you politely explain your situation, they may be able to help you clarify your role.  Of course you will then need to honor what they tell you even if it is the long title, but my guess is that it won't be.

(Another title option may be Assistant to the Stage Manager, which is still a little bit clunky, but is closer to what you are actually doing.)

Good luck!

240

Employment / Re: For employers: When do you call references?

« on: Sep 01, 2008, 07:31 pm »

I would also agree that I call references after an interview, unless the reference is someone that I know, in which case I might call them before an interview to get more info about someone.