Messages

256

Stage Management: Other / Re: My first ballet gig!

« on: Oct 16, 2011, 11:31 am »

Chris,

As is the case with most ballet, it's all about recreating the original. There should already be run sheets from the last time it was performed, as well as an archival tape. When I get a new assistant on a show, I try to spend part of their first day with them watching the video once, then watching it a second time with the run sheet. (Very similar to how you would look at a script - read it once to get familiar, read it a second time and start taking notes.)

If it's a well-known company, odds are they have a headshot page or series of clickable bio/headshot pages on their website. I've had assistants create flash cards to help them learn the dancer's faces and names. That will be very helpful to you, and will make it easier for the SM and you to communicate about the dancers.

Anything else that would be specific to getting you prepared is most likely a question for that company's SM. Every company is different - some have large admin/support staffs, while some don't. It may be a good idea to find out what all of your duties may be, or if you're strictly the ASM and nothing more. Ask if you will be responsible for wrangling children/students in the production or if someone else will take care of that, if there are non-dancer guest walk-on roles - will you be responsible for getting them into the building and onstage, do you need to be available to count in Supernumeraries for their entrances? (my ASM has a ton of other activities, like casting Supernumeraries, securing parking for volunteers, sending student Mice into a scene, etc).

Also be sure to find out if you're working in an IATSE house or not. If you are not, then you may be heavily involved in scene shifts, if you are - then your goal will most likely be to make sure paths are clear of dancers for the crew to perform shifts. This information should be laid out on the deck/run sheets, but it's best to ask.

See if you can set up a meeting with the PSM/SM soon to go over what is exactly expected.

257

Stage Management: Plays & Musicals / Re: Designer Cue Lists

« on: Oct 08, 2011, 03:00 am »

Maybe I'm just "old school" but whatever happended to having a paper tech? Designers, director and SM can discuss placement of cues in script all together. I usually do my own master cue list from the information gotten at the paper tech.

I believe the last time I did a paper tech, I was in college. I haven't had a designer give me an electronic script with cues written in, though lately I have been the recipient of Cue Lists in Excel. Though most designers just give the cues as we move along. With sound, I tend to have all of them in my script from rehearsal - and sometimes a cue sheet is generated by me to give the designer. Though the designer will give me the official numbers of all the cues.

258

The Green Room / Re: Weirdest Item In Your Kit

« on: Oct 07, 2011, 01:18 am »

Maybe it's not strange to others, but to me, it is.

A desk bell (the familiar bell-hop kind).

I found one in a Pier 1 and felt it may come in useful some day. The very next show I got, a "beep" was needed over 20 times, so I offered the bell.

Now it has a home in my kit.

259

Employment / Re: On the Back of Intern Labor

« on: Oct 01, 2011, 12:33 pm »

For my PA's and interns, which are all paid, though unfortunately paid a weekly "salary" - I always ask them in the interview process what they want to get out of this experience. I then try to only hire those that actually have a goal in mind for what they want to learn from working at a ballet company. Once hired, I make a point to spend extra time with them making sure they learn/experience what they mentioned in their interview.

I think the only time I actually worked for free was at a local community theater as a crew member or SM when I was in high school. Since then, I've been paid as an intern or as a PA before going Union. I will say that my experience in the community theater when I was 18 was more helpful than my paid internship at a major LORT company. Though I did learn how to take amazing Line Notes during my internship...

260

Students and Novice Stage Managers / Re: Resume

« on: Sep 27, 2011, 11:34 pm »

Hi!

I highly recommend using the search box in the upper right corner to find some really great topics covering Resumes. Just type "resume" into the search box and a massive list will pop up. Also, you should be able to go to the Resume Browser and view all submitted resumes, so that you can see the difference.

However, for your first question, the answer is YES - always separate your acting from your stage managing. There are several people out there that feel if you have too many other things on your SM resume, it shows that you're unfocused.

Best of luck in your search!

261

Stage Management: Plays & Musicals / Re: Projections...how do you call it?

« on: Sep 21, 2011, 10:44 am »

I've only called projections once, so I am unfamiliar with what may be the industry standard, but I use:

Electrics
Sound
Rail
Slide
Pyro
Deck

....If you use Lights instead of Electrics, Slide may sound like Lights and cause a problem. Same deal if you use Fly instead of Rail.

That's how I do it.

262

Stage Management: Other / Re: How did you get started SM'ing Dance?

« on: Sep 13, 2011, 12:29 am »

Ryan,

I recommend browsing through the other topics on this board for the very answer to your question!

For the 5 years that I spent as a ballet ASM, I found it to be the exact same role as the ASM in a regular theater production. Anything out of the ordinary really depends on the level of company you're working for and the type of show. Nutcracker is going to have kids, and you're probably going to need to send them onstage or help them off - shows with guest artists that don't speak the local tongue may need to be tracked down if they are coming up late for an entrance, etc.

Be sure to browse the topics on this board. There is a fair amount of info on dance SMing.

263

Students and Novice Stage Managers / Re: Les Mis

« on: Sep 07, 2011, 03:02 am »

I have never read, done or even seen Les Mis, but a quick search on the internet for "Les Mis Libretto" gives me this Link. There's also a thread on SMNetwork that allows for members to request a script/score/libretto Here.

And finally, I believe if you use the search box in the upper right corner, you should be able to pull up some advice on the subject. For myself, I have used a pencil to Box the note that the cue falls on, then written the cue above the measure. Granted, I rarely work in scores, and tend to only use them for overtures and finales (since I work in ballet and I'm not given scores for some odd reason). I've also found other SMs to use post-it arrows to point to the exact note, color-code the arrows and just list the Q number on the tab.

There's also a thread on here with advice from HBelden that I found extremely useful when writing blocking into the score.

A little searching will get you everywhere on this site...

264

Tools of the Trade / Re: Software-packing a truck

« on: Sep 03, 2011, 01:47 am »

To bounce of what Nick mentioned - we didn't have a software program for our pack when we went to China on tour, but we did a pre pack plan before we left the US. However, when we got to China, after Shanghai, every other city provided us with the most unbelievable trucks - nothing we could have ever prepared for or mapped out. (One was a refrigerated meat truck - with hooks coming out of the ceiling!) I second Mac's suggestion - but like Nick said, be prepared for stuff to just not work, because when it comes to reality of what can be lifted high and what can't, etc

Sometimes you can develop an even better pack when you're packing the truck. Sometimes things make more sense when you're in the moment, though I know that doesn't help with planning for beans.

265

The Hardline / Re: AEA ASM?

« on: Sep 01, 2011, 05:57 pm »

Juliz1106: Just playing devil's advocate here....do you know what contract that company was under, since you said you reviewed the rulebook? Every contract has different rules regarding ASMs and the requirement thereof. Some contracts even state that the 1st ASM cannot act or understudy. For example:
(B) Assistant Stage Managers.
    (1) An Assistant Stage Manager is the individual who is assigned to assist the
    Stage Manager(s) on a specific production or productions. An Assistant Stage
    Manager may not be assigned the primary responsibility for a production. No
    Actor already under contract may be assigned as Assistant Stage Manager in the
    same production. The first Assistant Stage Manager may not act.
That excerpt is taken from the LORT - you said you reviewed the rules, and yours stated that the ASM may act/understudy. It all depends on the type of contract they are working under and what waivers/exemptions may have been worked out with their AEA business rep.

While I do agree with your feelings that what is best for large scale musicals (and it seems as though you're referring to a chorus musical) is to have an AEA ASM, some theaters have to work out agreements with AEA in order to employ as many AEA members as they can afford. The agreements made between a company and AEA, I think, are just the business of that company and AEA. If it was a major issue or concern, the SM on the show could contact AEA and ask about the waivers given on the production. I don't know if this would happen or not, but if you called, as a concerned member of AEA, you may not be given any information - because it's not your show/company. Or maybe you would, I can't say.

Personally, when I have not understood something regarding a show I was hired for, and the only response I could get from management was "AEA said it was OK" - I pick up my phone and call the Rep. Since I am on contract for the show and I must be prepared for any questions my Deputy or cast may have about a whacky schedule, the Rep is more than happy to provide me with the terms that were agreed upon. While there may be other shows by the same company going on at the same time as mine and I think their schedule is screwy - it's up to the SM on that show to find out what was agreed to. And, who knows, he may have already contacted AEA, or he may have been given a better response and more info from management. I'm not trying to say "keep your nose out of other people's business" but I am saying "each production has it's own set of rules, riders and agreements" - which you may not be privy to.

If you feel this passionate about it, I recommend contacting your area Liaison with your concerns so that it can be brought up to your region's Stage Manager Committee, and potentially brought up in contract negotiations when the time arises. The best way to make change is to be proactive.

266

The Hardline / Re: Prompt Script Etiquette

« on: Aug 31, 2011, 04:27 pm »

CBT - I am only familiar with the LORT rules regarding transfers of a show to another theater, while your situation seems to be falling under another contract/situation entirely. Here's what I can find regarding transferring from one LORT to another:

(G) Other Productions. Should a Stage Manager and/or Assistant Stage Manager, during
the time that he is under contract for a LORT production, perform services related to the
transfer of that play to another Theatre, the Stage Manager and/or Assistant Stage
Manager shall be compensated not less than 1/6th of contractual salary for such additional
services, unless the Stage Manager and/or Assistant Stage Manager is moving with the
production.

and

(J) Production Script.
(1) It is agreed that it is the duty of the Stage Manager to assemble and maintain
the production script for the actual technical and artistic operation of the
production and that the production script remains the property of the Theatre.
(2) No Stage Manager or Assistant Stage Manager will be required to prepare
any additional production script or book for publication or archival purposes or for
use in any other production of the play or musical.
(3) In the event the Theatre does request a Stage Manager or Assistant Stage
Manager to prepare an additional script or alter the script for any of the above
purposes, the Stage Manager or Assistant Stage Manager may agree provided
that he is paid no less than $350.00 for each such preparation.

Hopefully that shines some light on things. The Producers should review the AEA contract that the SMs are on to see what needs to be done/paid out to get you the proper paperwork.

267

Employment / Resume Workshop - Have you attended one?

« on: Aug 31, 2011, 12:28 pm »

I apologize if this is the wrong board for posting this. Please feel free to move it.

I searched around and found out that SMNetwork had offered a chat-style resume workshop in the past, but it seems that the chat associated with the workshop has been taken down (or at least I can't find it). Currently I am receiving resumes for a PA position where I work and the resumes and cover letters are just horrible in formatting, content and have a complete lack of coherent sentence structure.

By attempting to read these atrocities, I have become "inspired" to organize a Resume Workshop in my area. Aside from the one on SMN, has anyone attended one? If so, do you recall anything you felt was particularly helpful/insightful during said workshop? Aside from reviewing the basics of how to write an appropriate cover letter and how to format your resume in a basic sense (I know there are several versions of which way is correct), was there anything else covered in your workshop?

I appreciate any feedback/advice. I will be working with a local theater group to get the workshop organized, and I would appreciate any thing SMN members have to offer.

Thanks!

268

Stage Management: Plays & Musicals / Re: Recording blocking

« on: Aug 28, 2011, 06:47 pm »

SMeustace - as rpicket6 said, there are a lot of posts in the forums regarding dance notation. You can use the search box in the upper right corner and type in your key words. Here's a quick reference that also links to other forum posts. You can end up with a nice long chain of information:

http://smnetwork.org/forum/index.php/topic,2581.0.html

Though, in the end, as long as the notes make sense to you and you can explain it to someone else later (understudy, dance captain who needs a refresher) then you're fine.

269

Stage Management: Plays & Musicals / Re: Fly cues

« on: Aug 28, 2011, 06:40 pm »

It depends on if your rail cues are a vista or during scene shifts. In my experience, when I'm calling a scene shift and we have the opportunity to hide the shift (we bring in a DS Border and do a small scene in front while everything upstage changes) I start the call of the shift, then the Head Carpenter takes over, as he can see everything going on upstage while I focus on the scene downstage. My ASM is more mobile than I am, so she also keeps an eye on things above heads to make sure nothing is about to hit someone or something as it comes in.

Any time a rail is flying in, someone should be watching it - I work with IATSE crews, so we do have 2 head carpenters are either side of the stage that watch as rails come in. They make sure that the drops don't catch any air, keep an eye on the rovers, dancer heads, etc.

My most intense and dangerous rail cues were a vista for the ballets: Romeo & Juliet and A Midsummer Night's Dream. For Midsummer, my Puck would run under rails as they were speeding towards the deck, to give the idea of traveling - and once he reached his destination and turned around, we flew out the rails in the reverse order so that he would arrive back to where he started. That sequence was very frightening for me, but the dancer put his faith in the crew, was the same every time with his running pattern, and everyone kept eyes on the drops as they came in. The rail crew also has a video monitor with them, so they can see how it's coming in from the FOH perspective. As you mention, the "placement" of the cues - I called the cues based on the music and then the choreography of Puck. Should he be behind the music, I needed to wait until he was in the right spot on stage before I started calling the rails - otherwise we would get a little too close for comfort (should a rail get too close, a hold is called, or asked to slow down, if possible). It's also important to note the desired speed of the rail cues when they are a vista. For the scene mentioned above, they had to be fast - as it was Puck's running sequence. For a scene that involved a giant spider web covering Titania's home at a scene break, that needed to be medium speed - to match Puck's gesture to bring it in. During tech we rehearse and find the desired speed, and if the request is "as soon as Puck's hands reach up to call in the spider web, we want to see it" then you need to find where in your music/blocking/choreography is the best time to call the cue, so that it does appear when requested.

Please let me know if this was helpful - if not, can you rephrase your question?

270

Employment / Re: Consulting - A Hypothetical Situation

« on: Aug 25, 2011, 03:33 pm »

Many thanks for all of the responses. I especially liked the Marketing issue - I could not find any way to find this PAC on the web to 1) find out how to rent it or 2) know that it even existed. [I did pass on a local "performance spaces" website that the house tech wrote down to hopefully get more business drummed up for the venue.]

It seems as though my husband and I are both being used by this "important man" as consultants. My husband for science and I for the arts. There was no talk of money, and I don't think there ever will be. Even before we viewed the PAC, he asked me to consider the venue's potential. We met with the Theater Technical Supervisor, who seems to be the everything man of the space (TD/ME/SM/etc). I believe I was used as a "translator" between the house tech and my important man. I took a lot of notes, asked a lot of questions - and if this man knew the questions to ask, then I wouldn't have been needed at all.

When we returned to his office, the man then asked me the real questions - could I help bring in dance to the PAC, how likely will it be to bring in a "Light Opera" group to the space, etc. What would he need to provide to get this kind of art in the space to put on short shows for students in grades 1-5. In other words, he's looking to front the funds to bring more arts to the students in our township. The Tech of the theater knows what he needs to make the PAC better; I wasn't needed for that. I'm a contact. And I do have contacts to get this man who he needs to make his ideas realities. And it's for educating the youth of our city about the arts and sciences, which I can get behind - just for the good deed itself.

Post Merge: Aug 25, 2011, 07:22 pm..and he just offered to pay me. Problem solved.