Messages

256

Stage Management: Plays & Musicals / Re: POLICIES: Actors TOO Early for Call?

« on: May 23, 2014, 05:13 pm »

My answer is to teach them how to make coffee - it's a good life skill anyway. ;-)

257

Stage Management: Plays & Musicals / Re: POLICIES: Actors TOO Early for Call?

« on: May 23, 2014, 04:21 pm »

It's all about the type of project and the level of support Stage Management - I just did a 90 minute show where the lead actress wanted the stage to walk her entire role . . . sort of weird, yes, but all it took was a little work with the tech crew and house staff to find a zero cost / zero effort solution to allow that time for the performer . . . I feel like there should always be an attempt to customize the experience of individuals. 

If an actor wants to be early, maybe wardrobe will be there and can let them in - no cost / no effort solution.

258

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

« on: May 22, 2014, 05:26 pm »

Lot's of people get their card by being offered a show.  There are few contracts that require prior union employment (or a waiver by AEA).

259

The Green Room / Re: AUDIENCES: E-Cigarettes

« on: May 20, 2014, 04:03 pm »

I find it ironic that we are okay with haze and fog in a show, but freak out about an e-cig.

Still, I think it would be rude to bring your own personal fog machine into a performance.

260

Students and Novice Stage Managers / Re: Professional Prompt Book for Audition

« on: May 20, 2014, 02:10 am »

Seriously, there is no "professional" standard - you need to make sure the information is there, clear and can be easily found.  You want someone to be able to pick up your script and call it, or pick up the show book and remount the show.  As long as that is covered, you are show the beginnings of being a pro . . . but, here's how my book is laid out.

I buy the larger d-ring which allows you to slip in a cover sheet and a spine label, and make color sheets for those.

I divide each section of my binder with extra wide 8-section dividers (the extra wide stick out past sheet protectors)

I then have a TOC at the front of the book that tells you what goes in each section

This is an example of my current TOC for my script - obviously edit depending on the show

(I also put a label on the divider with this info from the TOC - so you know you are putting the right document in the right place)

Calendar
•   Full Production Calendar (Current on top)
•   SM Calendar
•   Actor Conflict Calendar   
   
Contact Sheet
•   Full Contact Sheet (actors)
•   Full Contact Sheet (SM version)
•   Company List
•   Final Contact Sheet (Closing)
•   Company Info Sheets
o   (at back of section)

Character Scene
•   Final Character/Scene
•   Scene Titles   
•   Run Order for Posting   

Scene x Scene
•   Scene x Scene
•   Scene Timings

Daily Calls
•   Daily Calls  (Current on top)
•   Weekly Schedules
•   All Calls and Schedules are
   in the book from the run.

Production Reports
•   Rehearsal/Production Reports  (Current on top)
•   Production Meeting Minutes
•   At Opening,
   Confirm all are in book

Performance Reports  (Current on top)
•   At Closing, Confirm all are in book

 

Scenic
•   Copies of Storyboards
•   Copies of Mini-ground Plans
•   Full Size ground plan (Closing)
•   Pictures (as needed)   
   
Costumes
•   Renderings
•   Rehearsal Costume Request
•   Item List
•   Quick Change Plot
•   Dressing Room Assignments
•   Copies of Wardrobe Run Sheets (At closing)

Props
•   Final Prop List
•   Prop Pre-Set
•   Pictures (as needed)
•   Prop Research
•   Manuals / Instructions

Sound
•   Sound Plot
•   Mic Plots / Mic Notes
•   Copy of Recordings
   (as needed on CD)

LX
•   Cue List
•   Cue Light Plot (on Map)
•   Cue Light Labeling (Diagram)
•   LX Plot       

Fight
•   Copies of Fight Notation
•   Fight Notes
•   Weapons Notes
•   Blood Tracking

Dance/Choreographer
•   Copies of Dance Notation
•   Dance Music
•   Dance Music (On CDS)
•   Understudy / Outage Plans

 
Music / Score
•   Music List
•   Sheet Music (as needed)

Orchestra
•   Orchestra Info

EFX
•   EFX Cues
•   EFX Safety Concerns
•   EFX Blocking
•   Fire Tracking
•   Flying
•   Projection Tracking
•   Projection Images
      
Vocal Work
•   Pronunciation Sheet
•   Vocal Notes

Script
•   Clean Copy of Calling Script (Closing) – Room allowing
•   Clean Copy of Blocking Script (Closing) – Room allowing

Old Script Pages / Cut Pages
•   Old Pages (at back of script)
•   Master Cut List (at back of script)
•   Daily Cut Lists (at back of script)   
   
Run Book
•   At closing, clean copy of run book.
•   Spike Chart
•   Top of Show Preset
•   Preset and Post Show Duties
•   All Run of Show Related Paperwork
•   Emergency Procedures
   
AEA Info / Call Board Postings
•   Copy of Ballots
•   Copy of Election Results
•   Equity Correspondence
•   Postings put on Call Board

 
Correspondence
•   Copies of all Correspondence
•   Call Board Postings
•   Late Notices

Notes from the Director
•   Copies of Notes from the Director

Misc
•   Birthday List
•   Producing Information
•   Distribution (rehearsal hall)
•   Distribution (E-mail)
•   Daily Checklist
•   Copy of the Program

Emergency Info
•          Evacuation Form
•          Emergency Policies
•          Show Stop Speech

261

Stage Management: Plays & Musicals / Re: REPORTS: Including Human Error

« on: May 16, 2014, 11:54 pm »

But I wouldn't be opposed to give a bit of explanation.

SQ 17  - Late SM Calling
SQ 45 - Late (Actors Flubbed Cue Line - Note Given)

262

Students and Novice Stage Managers / Re: SM Team Hierarchy

« on: May 16, 2014, 05:06 pm »

Yes, true . . . as far as AEA is concerned there are only SM and ASM contracts, the rest are just billing titles or in house titles . . .

263

Stage Management: Plays & Musicals / Re: REPORTS: Including Human Error

« on: May 15, 2014, 08:13 pm »

aren't most errors in the report human error?

264

Students and Novice Stage Managers / Re: SM Team Hierarchy

« on: May 15, 2014, 03:21 pm »

In America . ..

PSM (AEA)
SM (AEA)
ASM (First) (AEA)
ASM (Second) (AEA)
ASM (Third, fourth, etc) (AEA)
Production Assistants (Non-AEA Position)
Intern (Non-AEA Position - Educational)

Then you have subs in there

I think that would be as close to industry standard - but again there is a lot of adjustment for individual organization.

Would be the typical break down

265

The Green Room / Breaking out of the rut, or how I learned to say no to the Bard

« on: May 05, 2014, 10:34 am »

 
About 14 months ago, I made sort of a major decision for myself, and if you look over my resume you will understand why, no more classical work.  After 6 years as the resident PSM of a major classical theater regional theater, even moving to New York, I was know as that Shakespeare guy (I am not complaining, it didn't really hurt my career . . . as I landed several high profile Shakespeare shows).  But, I hated the fact that I was being typecast.   (It happens to a lot of people, I know people who are stuck in the PA-world in NYC, or pegged as the workshop/Off-Broadway world . . .)

One of the best things (and one of the few positive things) about freelance, is the ability to change up what you are working on.  [I firmly believe the number one career killer in Stage Management is boredom, but more on that later.]  And I really felt like I was typecast as a stage manager - and in New York, Shakespeare, although popular is not really the mainstay of most commercial work (that is living wage work in NYC).  So, I made the decision no more bard for a year.

Did it pay off?  I think it did - I was able to (by luck and good connections) go out of the country and work on a high end circus for five months, work on a new Disney musical at a top regional theater, work on revamping a new Family Musical at a regional theater, work on a brand new production of a classical musical theater piece (showing to the rights holder it can be done with less then 35 people and with a small pit size), a brand new theater piece directed by an acclaimed film director, and now, in the next six months, working on two new musicals.   

You might say this is tooting my horn a bit, but I wanted to share this fact that you can break out of the rut you find yourself in.  And, I really think it is important to show flexibility in the arenas you work in.  This career can sometimes be impossible to steer, especially when you are living gig to gig, and often you just have to take the next job, and sometimes the next job is a step up, sometimes a step down, but often it's a bit of reverse and repeat.    It's easy for a producer to look over your resume and pigeon hole you as a a "classical" SM, a "off-off Broadway" SM, a new play workshop SM.   
 
So, how do you do it?  I stopped doing what I had been doing.  I just simply turned down anything classical theater.  I took jobs outside my comfort zone.  I spent hours working on my pitch where my skill set could transfer to another skill set and sold myself like a madman to producers and general managers.  I was willing to work below what I normally make to gain that experience.  I put myself out there for workshops and readings. I reached out to the community of SM's I was working with and let them know of what I was up to . . . and they helped me find work.  I was willing to travel for work.  I opened myself up for the possibility of change.

Will this pay off in the long run?  We shall see - but the short term results are all positive.

Next goal - less travel, and more work in the city.  Get in with other theaters / general managers in town.   

Oh, and does this mean I am done with classical theater forever - not a chance . . . I miss it too much.  But, all in good time.

266

Job Postings / Cirque: Mystere ASM position

« on: May 03, 2014, 07:40 pm »

I am in no way associated with Cirque, nor this show - nor do I know anyone working on this show.  But a lot of young stage managers want to work with Cirque, so since they are advertising . . . this is for a sit down in Las Vegas.  You will have to create an account at taleo.net for Cirque to apply. 

https://cirquedusoleil.taleo.net/careersection/jobdetail.ftl?job=216961&lang=en&sns_id=addthis-service-code

267

Self-Promotion / New Musical

« on: May 02, 2014, 10:02 pm »

Next up for me . . . I am off to Oregon Shakespeare Festival to join in with some of their resident staff to work with Stew (of Passing Strange fame) and Joanna Settle on the new musical FAMILY ALBUM.  (this will be second collaboration with this musical talent and director, my first being THE TOTAL BENT at the Public.)

It will be a unique and interesting experience, learning how to incorporate myself as an outside SM with the team, as well as be a co-SM and be ready to hand off this show by opening.

Monday - I am off to Ashland.

268

Employment / Re: Freelancing scheduling tactics

« on: Apr 30, 2014, 04:56 am »

Congrats on keeping the season filled.

I think it's much easier / much harder regionally to schedule a season at a time.  You have the benefit that most regional theaters do do their schedule by the season, so you can start a year in advance.  On the flip side, there maybe less readings, workshops, short term work to be had to fill in said gigs.

In NYC, I have now stopped trying to fill anything in advance, and to be honest, to book ANYTHING but the next gig.  Too often, I will get attached to a gig, start turning down and work, only to have that gig change dates, move or get canceled.  I am basically looking just for the "next job" or the "the next job + one".  But on the flip side, being in NYC, I can usually bank on there being a a workshop, reading, sub work or something to fill the gap.  OR, given the fact I tend to work 16 months at stretch without a real break, cherish the down time.  I just turned down a gig that fight perfectly in my six week gap between two musicals - because I know I will need the time off for myself (ironically, once i turned it down, musical number 2 announced a choreography workshop in that gap . . . so i filled two weeks of six . . . )

I have put together a small clique of stage managers I trust and adore . . . when I am facing a period of unemployment, I let them know - or send it out into the universe on Facebook (Beware social media, you don't want to look like you are unemployed a lot). I am also VERY good at sending jobs TO this group as well - if a gig comes my way I can't do, I make sure this group knows about it - or specific people in this group.  I have been very good at sending jobs to these people - so everyone is knows I am just looking for me, I am looking for the whole group.

I am also at a point where I want to be careful about making my schedule too public, except for perhaps those "high profile jobs".  Case in point, I recently finished a high profile gig.  When I got that offer, if people knew my schedule, they would know I was unavailable, but when I got the offer for the show, i was able to work an out for the current show I was working on - which ended up being a win/win for me (I got continued employment and was able to take a really cool show).  You get to a point where you and only you know about the parameters of what your schedule can handle, and you want to be able to discuss with people the options (like overlapping prep week with closing week of another show - able to do a workshop, by subbing out two days on Show A).

But I will for sure reach out to companies I have had a successful run with and say things . . . like I am currently work on Show A, and I am free May and June and I am looking for work.  Or, just take the opportunity to network.

I think this is one of those things, wait for everyone's answers and see what fits in with your marketing/business model - take the ideas that seem right, toss out the ideas which may do more harm then good.

269

The Green Room / Re: Was I out of Line?

« on: Apr 24, 2014, 08:00 pm »

In my experience, combativeness is not a trait producers look for when hiring stage managers.

I am unsure if comes across as combativeness, but definitely defensive - which is also not a great trait, but understandable - especially in a tech notes situation where people are trying to figure out how the tech is working.  I think a better response would have been to not make it about the actor - but make it about the blocking.  Anytime I can make an issue about something separate from the performer - so that I can help me and the performer work together to find the solution.  Especially since this an improvised show, set blocking maybe hard . . . but explaining that there needs to be clear blocking cues to call cues - or that you and the actor need to up with some sort of communication to make sure you are calling the show in the best way to support the actor.  Anytime, especially as a younger stage manager, you can make less about person versus person and make it PEOPLE versus the PROBLEM - you will come out better.

Anything that could simply be read as "combativeness" should be avoided.

But this is subtle management style issue . . . you have to find the management style that works best for you. 

270

The Green Room / Re: Was I out of Line?

« on: Apr 24, 2014, 03:11 pm »

My vote is out of line - not that you are wrong - but not knowing the more subtle things at play at the moment you spoke you - the director thought you were out of line, so you probably were.