Messages

241

The Green Room / Re: ARTICLE: Tony Awards Cutting 2 Trophies

« on: Jun 13, 2014, 12:44 am »

It's very odd choice, especially when there is actually a push for more technical categories - such as projections - I wish they would have pulled down to best sound design (for both musicals and plays) . . . rather then eliminate that category at all.

I think there is a push to break out of the technical awards and have a smaller group (like the Oscars do) nominate them, and then maybe have teh whole group vote.

I think rather then dump the category, they should have spent time and effort to educate the voters on the importance of sound design.

242

The Green Room / Re: ARTICLE: The Impending Death (?) of the Paper Play Script

« on: Jun 12, 2014, 05:40 pm »

Stopping rehearsal because of the battery running out

Not being able to stuff it in an pocket

THE COST of EVERYONE having the same tablet . . . the same software.

Who covers the cost of a broken tablet?

Transferring of notes and blocking could be an impossible nightmare.

243

Stage Management: Plays & Musicals / Re: COMMUNICATION: Posting contact sheets on the call board?

« on: Jun 11, 2014, 02:26 pm »

I think a good rule of thumb in creating a contact sheet is to ask EVERYONE their permission to give anything other then an office number

I send out an email with the following:

Below is the information that will be published on the in-house contact list and distributed in-house and to others on the contact list. 

The following is the information we have for you.  Please confirm that it is correct

Matthew Shiner
Production Stage Manager
Email
Phone Number

Home Address.

Your home address will never be given out, but if you would like your email and/or phone numbers taken off the contact list, and thus only be made available to stage management - please let me know.

It seems to work, and most people, even some celebrities, don't mind the cast have their number or email  . . .

But again, I would never post it anywhere.

244

The Hardline / Re: Guest Artist Contract and Deputies?

« on: Jun 10, 2014, 11:30 pm »

Neither seem to be required . . . but you can always elect a deputy if you want . . .

245

Job Postings / Dc fringe

« on: Jun 10, 2014, 10:27 am »

Got this in email from a dear actress friend   Let me know if you or someone you know might be interested ....

Hi Matt,

I hope this message finds you well. I'm going to be doing my solo show in the Capital Fringe in DC from July 10-18 and my stage manager is not able to join me. I'm in urgent need of someone to run my lights, sound and video. If you have anyone you'd recommend I'd really appreciate it.  It will be a paid gig.

246

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

« on: Jun 06, 2014, 01:24 pm »

From Face Book . . . Carolina Actors Studio Theatre
---
It is with an extremely heavy heart that the CAST Board of Directors announces that this production of Gruesome Playground Injuries will be its last.
Due to economic strains that have challenged the theatre to keep its doors open for more than a year, the board reluctantly decided the organization cannot support another operating season.CAST has accomplished so much in a relatively short amount of time – it is a three-time winner of Creative Loafing’s Company of the Year award, among many other laurels, and has received acclaim from critics and audience members alike spanning eight years and 64 productions as a nonprofit theatre.
Please help CAST wind down with the same quality they have offered their creative innovative theater to this community. We need your help with expenses to move, pay bills and actors and the production costs for the last production, Gruesome, June 6 – June 21.
Please make a donation and share this with all your theater loving friends -

247

Stage Management: Plays & Musicals / Re: REHEARSALS: Fight Notation

« on: Jun 04, 2014, 07:05 pm »

Videotape each section

248

Stage Management: Plays & Musicals / Re: Handling outrageous requests OR "Not My Division!"

« on: May 30, 2014, 09:08 pm »

Most of these fall out of the scope of stage management, and you should forward their requests to the producers.

What is good about that, it shows that you are giving the weight to their demands, but also, kicking it up to the level of involvement that it involves.

Almost all the examples you give are money issues - so a producer needs to be involved.

249

Students and Novice Stage Managers / Re: SM Team Hierarchy

« on: May 29, 2014, 04:13 pm »

This goes around a lot in AEA Houses, and the reality is it varies.

Stage Manager and Assistant Stage Manager are AEA Contract Positions - so if you are in an AEA house, and billed as one of these, the notion is that is what contract you are.  So, if you are working in an AEA house and have that billing, there is a notion that you are on contract.

But, there seems to be more tradition then hard and fast rule, like PSM and SM credits.

250

The Hardline / Re: Scheduling: not rehearsal or performance

« on: May 29, 2014, 12:17 am »

I think this is delicate issue on this agreement, since there are no specific photo call rules in the agreement.   Sadly.

I would try to work with the deputy . . . you are in odd territory, since there is usually (on some contracts) not allowed to rehearse or any work call, prior to a show call, without a full meal break in between the work call and the show call without cast voting on it.  (For example the LORT rule for the hour prior to half-hour rehearsal rule.)

251

The Hardline / Re: Director Giving Notes

« on: May 28, 2014, 10:21 pm »

And that rule about no rehearsals for new material IS NOT in every AEA Contract / Agreement / Code - in fact, I am unsure what other contracts that might be in.

But, wait, you should be locking the show.  You yourself said ...

he producer did actually say in a group email at one point that "after X, the show should be locked,"

Have you reported back to the producer the changes are being requested?  Are you noting them?  It seems like you have been given specific marching orders by the producer, and since you work for the producer, you should feel comfortable telling the director (Although I would talk to the producer first), that any request for a change so go directly to the producer.

(And to be honest, I have never made but the slightest of changes past opening without the producers' approval . . . )

252

The Hardline / Re: Scheduling: not rehearsal or performance

« on: May 28, 2014, 10:12 pm »

True, actors DON'T normally get approval of their schedule, but you need to look at the specific wording in the AEA agreement for your actors.

Although the 99-Seat outlines a section about photographs . . .

18. PHOTOGRAPHS
Individual, rehearsal or production photographs may be used for publicity and advertising purposes, but may not be used in conjunction with any commercial product without the prior written authorization of the Actor and of Equity.

But, no rules about scheduling a photo call . . . given, that, I think as long as you following the rehearsal rules, and it's within those hours, you should be fine, and there should be expectation the should show up.

BUT . . . we you are not really paying a living wage, good management skills would probably inspire you to find a convenient time for all parties should be given, since I am sure everyone on the 99-seat plan has another job.

What you might suggest to the producer in the future, as that a note be put in their actor packet at that a time, to be determined, and within the rules of the plan, a photo call will be scheduled.  I have found in my history, if everything is outlined on the first day, and there are no surprises down the line, a cast can be most accommodating.

253

Employment / Re: Applying for AEA Positions W/O Being AEA

« on: May 25, 2014, 06:04 pm »

I would point out, as long as you don't say you are AEA on the resume, I don't think you need to point out that you AREN'T AEA. 

This gets into weird HR rules that vary from state to state - but I know at some theaters I have worked at - I was not allowed to ask about union status for union jobs (Although I could point out a position would be AEA or not AEA.)

Now a savy person hiring will be able to figure out - as long as you are not lying or   "fudging" on your resume - such as listing yourself as ASM in AEA House, when you really where a PA. 

If someone asks if you are AEA, and your aren't . . . then be prepared for why you think this is the right job to take the next step in your career.

254

The Hardline / Re: Director Giving Notes

« on: May 24, 2014, 05:51 pm »

Unless there is a huge reason to remove yourself from the director, I agree it should be a unified front.

You should count yourself lucky the notes are going through you, and not being sent directly to them and leaving you out.  (And you being cc'ed on a note, can be dangerous - what if a note has a disastrous tech implication - you want to be able to figure out the way t execute the note . . . )

Yes, noting a show is time consuming process, but if you take that show maintenance and improvement as part of your job, it then becomes part of your job.

I think there could be a very easy way to delineate a note as from the director or you, by putting the note in quotes from the director, and putting any comments next to it.

Jack:
"On your entrance, please stop and put down your backpack by the door." - Jack, see me about this, I think we have a way to make it work within the sound cue you.

Remember, unless a producer puts their foot down that a show is frozen, there is only theatrical tradition to mandate you freeze a show at opening.  Some shows continue to have rehearsal,  evolve and change over the life of the show.  If you are working with a director who doesn't want to lock a show down, then you sort of have to go with that mandate - unless the producer says no, we are done changing a show.  (This desire to not lock down a show happens all the way up the career ladder - I have a friend who worked on a Broadway play where the director didn't want to set ANY blocking and let the actors feel it nightly.)

If the actors are pushing back on changes through the run, then pass on your concerns to the producers.

255

Job Postings / Saw this on Playbill . . . Sleep No More

« on: May 24, 2014, 05:34 pm »

http://www.playbill.com/jobs/find/job_detail/61242.html

Sleep No More is a site specific immersive theater production in Chelsea, New York City, created by the internationally acclaimed British theater company Punchdrunk. It is based on Shakespeare’s tragedy Macbeth and is set in 1930s Scotland. Since 2000, Punchdrunk has pioneered a game changing form of immersive theater in which roaming audiences experience epic storytelling inside sensory theatrical worlds. Blending classic texts, physical performance, award-winning design installation and unexpected sites, the company's infectious format rejects the passive obedience usually expected of audiences. Lines between space, performer and spectator are constantly shifting. Audiences are invited to rediscover the childlike excitement and anticipation of exploring the unknown and experience a real sense of adventure. Free to encounter the installed environment in an individual imaginative journey, the choice of of what to watch and where to go is theirs alone.

Full time stage managers work eight shows per week, including double shows on Fridays and Saturdays.
Stage Managers are responsible for daily pre-show and post-show tasks, including upkeep of paperwork, props handling, and liaising with members of the crew, stage management team and performers. During the show, they run show tracks, which place them in specific scenes to supervise and ensure safety of both the performers and the audience. Running the show involves some interaction with the audience, namely, guiding patrons out of the way of performers, and making sure patrons are abiding by the rules of the performance. When not in specific scenes, stage managers will be expected to answer emergency calls and trouble shoot technical/performer issues within the show.

This is a paid position. To apply for a stage management position, please submit a cover letter, a resume and two professional references. Please include "SNM Stage Management Position" in the subject line of the email.



Contact:

anon-061242-1400798915@anon.playbill.com