Messages

256

Employment / Re: Skills

« on: Aug 17, 2006, 02:41 pm »

My skills section looks like this:
"- Classical pianist – professional experience as an accompanist and soloist
- Bilingual (Spanish/English) with working knowledge of Italian and French
- Co-host and co-creator of Emmy Award-winning TV program Real Exchange. WCPO Channel 9, Cincinnati ABC affiliate, 1999. Peter Kaspryzscki, Producer
- Also experienced as a stage director, pit musician, seamstress, dresser, stagehand, property manager, light board operator, sound board operator, house manager, box office manager, and performer"

Since I work mostly in opera, musical proficiency and language skills are very important, so those are first. On my regular resume I list computer skills ("Excellent computer skills – proficient in Windows and MS Office. Also familiar with SPSS. WPM: 75").

My general advice:
- Stay away from the word "basic." Let's assume your skill level is basic unless you indicate "advanced" or "excellent" or something. "Basic" looks like you're underselling yourself.
- Don't list completely non-theatrical stuff (cooking, marathon running, D&D playing) - make sure it relates to stagecraft.
- As a hirer, I appreciate seeing a "Professional Affiliations" section (you can lump it all together in "Skills & Affiliations" if you don't have enough credits for a separate section) where you list your unions, local organizations, and of course "Stage Managers' Network - Online member since XXXX." Showing that you network with professionals in your field indicates that you take your work and career seriously.
- CPR certification is wonderful to include, as are CAD drafting skills. Hirers will be thrilled to see this on your resume. Other potential skills no one's mentioned yet: driving passenger vans and/or trucks, company management, hospitality/craft services, skills with children or special populations.

257

Employment / Re: Electronic Portfolios- Need Help

« on: Aug 13, 2006, 10:12 am »

I would recommend against a CD-Rom presentation of anything, in any format. It just won't get used by the hiring company. No one really wants or needs to see a prompt book sample that badly. Your resume should eventually speak for itself about your SM abilities and organizational skills. PMs and hirers are getting lots of CD-Rom promos (set rentals, costume companies, even props catalogues), and most of them end up in the trash very quickly. Honestly, I wouldn't waste your time. A resume, cover letter, and references is all anyone will ever really need. If they absolutely must meet you and see a sample of your books, they'll fly you out.

258

SMNetwork Archives / Re: Emergency Forms

« on: Aug 13, 2006, 10:08 am »

What a great resource! Thanks!

259

SMNetwork Archives / Re: Emergency Forms

« on: Aug 12, 2006, 08:40 am »

Cassie -
That sounds great, but did you forget to finish typing the website? Or is this a site that you set up and then process? I'd love to explore this web-based emercengy medical info.
Thanks!

260

Students and Novice Stage Managers / Re: Newbie at ASMing - would love some advice

« on: Aug 12, 2006, 08:35 am »

Oh my goodness, I've done an on-the-fly concert where early briefing emails looked just like yours! I learned a little late that there was someone with the production group that was called the "production manager" who was working to make the tech happen. This would have been a great person for me to get in touch with early in the process. I wondered about their planning process because of statements like: "we might do this", "there will be props, but we're not sure how many", "we're hoping to have a dozen professional breakdancers - do you know any?". Indeed, the production was slapdash and half-baked. But it looked smashing onstage and we pulled it off. But like your emails, they mentioned mics, lights, and specific drops. So someone had been thinking this out in detail. Find that person! You might actually be communicating with the head choreographer/producer, who will talk a lot about the sexy moves, but forget to mention that there's a glitter drop and a rolling couch that needs to store backstage.

In a gig like this, all bets are off about where your duties begin and end. Like most folks have been saying, just be ready for anything. Know the set list cold. Focus on making sure the next group is ready to go on. You will probably run behind schedule - accept this, but keep pushing the show forward. Events like this rely on momentum and excitement (onstage, off, and in the audience). But people also take this opportunity to chill out backstage when they're supposed to be setting up their drum kit, or they grab the mic and give a 20-min inspired monologue about whatever's on their mind - crazy things happen when they see thousands of people in the audience.

As ASM for something like this, you'll probably be backstage in the wings keeping everything running. Your PSM will probably be calling cues in the booth. So in a way, you're the one in the trenches pulling the show along by its hair. The PSM is comfy at her tech table cueing lights & sound. You'll probably be flying around with your clipboard trying to appear calm as you as "Where is Mr. Gibson? His partner is improvising onstage without him!" "Find me another chair. The dancers are going onstage now and she's missing her cab chair!" "Stop having a water bottle fight in the hallway!" "Please don't do plies against the pin rail." So I would recommend you jot down running sheets like a WWW of the concert. Know when props are used, what costume changes are happening. Know how long each set and - if possible - each song is. Constantly tell everyone what's coming up. Write down set-up and double-check notes on your sheets. Above all, just keep a cool head. You'll be great and have a lot of fun!

261

Students and Novice Stage Managers / Re: Turnaround time

« on: Aug 12, 2006, 08:13 am »

The blanket answer is that it can vary a lot. If you interviewed for a position that wasn't necessarily available (just meeting them to offer yourself as a SM), it might even be a year or more before an actual job offer comes along. But it sounds like you interviewed for a posted gig, so the company had a pressing need to hire - it's not unusual that they would want to move fast. So much in theatre is pulled together quickly - and hiring production staff is no exception. Maybe they just lost the SM after last night's rehearsal. Maybe they forgot to sign-on an SM. Maybe this is standard operating procedure at this theatre. An 18-hour hire is not unusual. Hire-on-the-spot is not unusual (though a little pushy). Jumping through the hoops of three phone interviews, one in-person, and a three day waiting period before you get an offer is a little unusual. In my experience, for gigs, as soon as the PM or hirer finds someone who "will do," they'll hire quickly. Now, interviewing for staff positions or season-long gigs might take a few days of debate among the production team before an offer is made to a candidate.

A good SM is generally in demand among your local theatres. Generally you can expect to answer fast whenever you consider interviewing for a show. If your work or life situation means you can't take work immediatley, be sure to discuss this with the hirer. They might be looking for you to SM a show in two months, but they might want to throw you on the running crew of the current show - starting tomorrow. So many of the shows I have taken (especially early in my career) brought me on the show amazingly fast - I remember one where I wandered into a rehearsal, my friends told me the former SM has quit last night, and I went home, got my kit, copied the script, and started that night.

A word of warning - Be wary if a manager is asking you to come on a show because s/he plans to fire the current SM (but this soon-to-be-fired SM is still on contract). Hiring behind the incumbent's back is sketchy and raises some nebulous legal employment issues. Try not to get yourself involved in something like that. Sometimes you won't know, but will learn about the messy situation later. I've seen this happen a few times in my career. Ask yourself if you want to work for a company that will go behind someone's back to replace them before they're even dismissed. (Sometimes in quick-hire situations, something like this is going on.)

262

Employment / Listing upcoming gigs on resume

« on: Aug 09, 2006, 07:40 am »

I always list upcoming shows on my resume, with a prominent note that they are upcoming. If you have several gigs lined up, you can even create a new resume section for it ("Upcoming engagements" is standard language). Usually I don't mention upcoming engagements in my cover letter - I tend to spend so much more space talking about past achievements and skills. If your resume is getting full, you might have to drop off older or less impressive shows in order to list your upcoming ones. But if your career is moving forward, the upcoming shows are probably better & bigger than the old ones, so dropping those is no big deal. You could even emphasize that your experience is far too vast to present on a single sheet. ("Plays & Musicals" <smaller type:>  "Highlights - complete list available upon request") I'd rather see that and have your upcoming gigs presented prominently.

263

Employment / Re: Fired from an SM Job

« on: Aug 09, 2006, 07:32 am »

I began telling faculty "we have a show going on can you please refrain from coming through the backstage hallway."  ..... if i was in charge of the company and that happened to me I'm sure there's a way I could turn around after your lawsuit and sue the director to cover the expenses I had to pay to you. 

This made me think about benefactor etiquette in theatre.  I've been on the other end of theatre administration, in the board meetings where litigation is discussed and big donors are courted. For each show at a larger opera company, I am given a list of major donors for backstage reference. If, somehow, this fat-cat CEO finds his way backstage, he is not to be dismissed. Yes, this is infuriating. But showing someone the ugly side of the flats could quickly lead to a $10K+ check to the company. It's hard to accept when you're trying to keep your backstage running safely, but kicking these donors out could have serious repurcussions for your company's fundraising efforts.

And about the follow-up lawsuit - understand that I was not suing the director; I had to sue the theatre I was working for. It just so happened that this guy was also the Artistic Director and had led the company for 20+ years. So the Board approved of taking the lawsuit to court (instead of settling out of court)... I guess he talked them into it, perhaps without mentioning the swearing-at-kids thing. But no, there isn't a tidy way for the company to come back and sue their own individual employee for reparations. Plus, (and even though I've worked dozens of years in law offices) lawsuits are not the answer, and it's usually a major black mark against any company just to have to get involved with one (we went to lengths to keep this one off the books, mostly because the director was approaching retirement age - this just kept some humanity in this resolution). Lawsuits are expensive and a big pain. Stay far away if you can.

264

Stage Management: Other / Re: What's the most unusual job you've had?

« on: Aug 04, 2006, 08:00 am »

I've done two 24-hour events and they're awesome! It is truly bizarre to stage manage because you are totally flying by the seat of your proverbial pants. But they're a ton of fun! But I should note: I'm a non-union SM, and I can't imagine anyone being able to hold a 24-hours festival under a union contract.

265

Employment / Re: resume questions

« on: Aug 04, 2006, 07:39 am »

I would recommend including director (and/or star) credits on the resume based on who will be reading your resume. Consider your audience. If you've been working locally with some great folks in your town and you're applying for a job with a new local company, it would be good to include the names, since the names of local directors are usually known around a town. However, if you've worked locally and are looking to take your first away gig at a larger national company, they will probably not be interested in the local directors you've worked with, and you could use that extra space to demonstrate more about your skills and experience. I have several copies of my resume saved on my computer - some emphasizing event work, some making my opera SMing prominent, and another that is more general (plus resumes that are office-oriented and mention my freelance SMing only in passing). I would save a copy of your resume with names and another without, then issue them based on the job you're applying for.

266

Stage Management: Other / Re: Opera tips

« on: Jul 21, 2006, 10:58 am »

WWWs are extremely helpful in all sorts of SMing, but they are standard operating procedure in the world of opera. I've actually found WWWs most helpful during events/galas, when that is really the only run sheet I produce. Check out the WWW discussion in Stage Management: Plays & Musicals.

267

Employment / Re: What questions should I ask in an interview?

« on: Jul 12, 2006, 08:44 am »

I ask a TON of questions before I sign any contract - I've just been through too much by now, and am adamant about protecting myself.

Your list so far is great! One thing I usually nail the company to the wall about is cell phone reimbursements. You might find yourself on the phone constantly solving production problems, holding conference meetings, calling perpetually late actors, etc. Tell them what your plan is, and ask if you will have enough minutes by their estimation. If you need to increase your plan, they must pay the difference. If you go over your minutes, they must pay the overage costs. (They can't quibble about your personal calls - the point is, you wouldn't be going over your minutes if it were not for your work calls.) This can be extremely costly, so be sure you have extra-clear boundaries and guidelines about this. If it's an away gig, of course get lots of info on your housing (roommates? appliances? internet access? TV/DVD? air-conditioning? who cleans the place?). This is another place where you can be burned - and if you're going home to a rent-a-dump every night, you'll be in a foul mood all the time.

I usually ask all these ?s of the company before signing the contract. I also ask the director a lot of questions before we begin: policies on visitors, food, attire in rehearsal, taking breaks, their blocking/time tracking habits, things that drive them nuts in general, things that will make their day, etc.

A word of encouragement - ask ask ask these questions! Don't let them make you feel like you're pushy! These are issues that any company (professional or not) needs to address when working with their SMs. So even if they get that edge in their voice as they say "[Sigh] No, we won't cover parking expenses. No SM has ever asked that before." Fight for what you need! Maybe you're undertaking a labor of love and will just write that parking off on your taxes later. But you deserve to know that going into the gig.

268

Stage Management: Other / Re: schedule coordinator

« on: Jul 12, 2006, 08:25 am »

I have never been a schedule coordinator, but I am familiar with the position. Indeed, it is usually found at large opera companies. The scheduler (aka rehearsal coordinator) keeps track of all the artist hours and rehearsal/performance space needs. When companies are so large, it is very possible that a singer might be asked to meet with the maestro, attend a costume fitting, and rehearse a scene all at once. So the schedule coordinator works to be sure this doesn't happen. Basically, every request requiring space use and/or artist time goes through this office (or at least that's the way it's supposed to work!). In addition, the SC keeps track of all the hours everyone is working - very important for tracking all the unions that might be working on the opera (AGMA, IATSE, AFofM). Principal artists can usually work no more than 6 hours per day - and that would include meetings/fittings. But that rule varies by company. And finally, the SC makes sure that rehearsal space is prepared for use - reserved, cleaned, temperature controlled, with a tuned/prepped piano, props and production tables if necessary, etc etc. Of course, the SC also communicates all this scheduling to everyone, everywhere. Though it sounds like a small-ish job, it is a mighty task! Schedulers usually work very closely with the stars, conductors, directors, and SMs. SCs need to be extremely diplomatic, but also very practical and pragmatic. SCs are creative in their own way - brilliantly tracking, solving, and preemptively avoiding dozens of conflicts each hour. (That's a quick summary of the job duties. If you want to know anything more specific, ask away!)

269

Stage Management: Other / Re: Event management

« on: Jul 12, 2006, 08:14 am »

I've gotten most of my events from the producing company directly. Look into local event production companies - you might find them under party planning, events, talent, or even by researching the society pages of the local paper. There are usually a few of these companies in any mid-sized city. I send them my resume with the standard follow-up. They might also hire non-union stagehands (read: brute labor) for their events, and they usually pay fairly well. You could also go to a local event venue (museums, the convention center, etc) and ask around to see who the event companies are that produce there. Or just contact major event-throwers directly (big hospitals, political parties, the local opera/symphony) and tell them that you are available for hire. For event work, I usually have had to go straight to the source - it's a bit of pavement-pounding, but it can pay off. A final thought - municipal gigs (city-produced concerts, events, etc.) are awesome - they usually pay extremely well and have ample staff and planning behind them.

270

Tools of the Trade / Re: how essential is a kit?

« on: Jul 07, 2006, 04:50 pm »

But I'd recommend that before you bring your kit, ask the company about supplies reimbursements. You might want to know whether you'll be paid to buy a pack of sharpies to replace the ones that disappear the second you walk into the theatre. If the theatre can't/won't pay you to restock the kit you bring, you should probably leave your frequently disappearing supplies (mechanical pencils, sharpies, post-its) at home. Sometimes "donating" your kit supplies is a labor of love at smaller theatres. But stocking a kit is expensive! So just be sure you know what to expect.