Messages

271

College and Graduate Studies / Re: SM Internships/ACTF SM Prompt Book

« on: Sep 24, 2006, 10:20 am »

I went to ACTF in college.  I had my full production book on my display table and then put "highlights" from it (i.e. a couple sample blocking pages, a couple sample pages from my prompt book, rehearsal/performance report, etc) around the book.  I also happened to still have my callboard from the show (my college didn't have a permament callboard, so we used foam core boards), so I displayed it with calendars, call sheets, etc.  And then I setup a couple of show photographs that were from particularly difficult sequences so that I could talk about them in my interview. 

If you have more questions, you can send me a pm (I can also tell you about my intern experience). 

All the best!!

272

Tools of the Trade / Re: latest toyes...

« on: Sep 21, 2006, 09:38 am »

I am still on the hunt for the perfect prompt book. I don't think it exists but I am trying to find it.

Assuming you are referring to the binder for your prompt book, I found my perfect one at Staples.  It's a 3 inch binder with locking rings.  It has clear pockets on the front, sides, and back, so I can slip a cover page on the front, a label on the side, and the show calendar on the back for quick reference.  Inside, it has two pockets on the front and back cover.  And because the rings are actually on the back cover, there are two mini pockets on the spine that are perfect for keeping my 6" ruler and a couple extra wallet cards.  This also means that the book will always lay flat instead of closing up on you if you have too much paper on one side. 

Happy hunting!

273

SMNetwork Archives / Re: Drinking Games

« on: Sep 19, 2006, 09:51 am »

On my recent production of Hedda Gabler, we came up with the rules for a drinking game over headset one night.  One of the rules was that you had to drink everytime Tesman said "Uh?"  which was actually scripted, though our Tesman had a tendency to throw in quite a few of his own.  My LBO decided to actually write down the rules and then tally during a show one night exactly how many times we would have to drink.  He stopped about halfway through Act 1 when we were up to 84, 68 of which were Tesman's "Uh's?" 

If I could add a rule to the tech game, though, it would have to be take a drink everytime a director turns to you and asks "Someone is still working, right" when you're holding.

As for a question of what to drink, I'm going to need a martini shaker, an ice bucket, and everything needed for a Mexican Martini at my tech table!

274

SMNetwork Archives / Re: Leatherman

« on: Sep 18, 2006, 10:16 am »

Target has carried them in the past, but it might be a seasonal thing.  I got one for my Dad for Christmas this past year.  They were on the same aisle with the flashlights. 

275

College and Graduate Studies / Re: Grad School vs Experience

« on: Sep 15, 2006, 10:47 am »

There are a couple of other topics already going on grad school vs experience.  Try this one about grad school, or this one about SM college degrees.  Both weigh the pros and cons of grad school (or school in general) vs. experience. 

Best of luck to you in your decision!

276

Stage Management: Plays & Musicals / Re: Who's Job???

« on: Sep 14, 2006, 10:36 am »

When I ASM, I take care of setting up the rehearsal room, performing scene shifts, etc, all without the help of my SM, unless it's something big like a table or a sofa.  In those instances, I work out with the SM when it's going to be most convenient for them to help me.

When I SM, I expect the same of my ASMs.  I usually help during the first week while we are both still learning the show, but by week 2, I usually just double check the setup.  By tech, I expect that my ASM has taught the crew the setup and the shifts and he/she is doing the double check, because I've got other aspects of the show to be concentrating on at that time. 

I think that the actor was very out-of-line in his statement. 

277

SMNetwork Archives / Essential Theatre Books

« on: Sep 11, 2006, 10:57 am »

I am always interested in expanding my theatrical vocabulary and knowledge and am curious about what others consider the essential, must read books about theatre.  Whether they be about acting, directing, stage craft, stage management, theatre history, etc, what books do you consider as fundamental reading about our craft? 

Thomas Kelly's Backstage Guide to Stage Management and Lawrence Stern's Stage Management top my list for SM books, and Uta Hagen's Respect for Acting is one of my favorite acting books. 

278

The Hardline / Re: AEA - LORT - QUESTION #1

« on: Aug 28, 2006, 12:52 pm »

I have not worked under a LORT contract, but when I have been contracted for possible extensions, the closing date on the AEA contract has always been the expected closing date.  The extension is written into a rider with language to the effect of "The Actor agrees to be available as possible for a 2 week extension from mm/dd/yyyy to mm/dd/yyyy.  Notice of extension will be posted according to AEA guidelines."

Some of the members of the cast of my current show and I just had a discussion about extensions.  They prefer the rider because they feel that the language "as possible" gives them an out should they book other work.  I prefer the rider, too, but not for that reason.  I do my personal budget and health week calculation based on the dates on the face of the contract and view extensions when they happen as a little bonus. 

However, I suppose it's really six of one, half a dozen of another.  I'm interested to know what others think. 

279

The Hardline / Re: Copyright laws

« on: Aug 20, 2006, 03:36 pm »

That may indeed be Equity's side of the rules, the 3/4 majority, but . . . they don't own the show.

You still need to check with the person who owns the rights to the show; most of the time there seems to be little trouble with allowing an archival video, but every royality owner is different.

I didn't mean to imply that we conduct the vote and record the performance regardless of what the publishing house allows; I always check with the Producer as to what we are allowed to do in terms of recording/reproduction per the Royalties Contract before taking a vote/scheduling the archival taping. 

I know DC has the Washington Video Archives or some title like that which houses many archival tapings of shows in the region and can be accessed for scholarly reasons.

Yes, it's called WAPAVA - the Washington Area Performing Arts Video Archive.  Here's a link to their website. 

280

The Hardline / Re: Copyright laws

« on: Aug 19, 2006, 11:58 pm »

(I haven't worked a COST contract in a long time, but it looks like Olney Theatre, North Shore Music Theatre and Paper Mill are allowed to make archival recordings, under specific terms.) 

I SM for Olney Theatre, and yes, under the COST contract we are allowed to make an Archival video tape provided that there is a 3/4 majority vote (by secret ballot) of all AEA members in the company.  The reproduction may be viewed by theatre employees, individuals connected artistically to the theatre, scholars, teachers, students of the visual and performing arts, and Equity members.  (Reference COST rule 56G, pages 73-75 for further details).

We are also permitted to shoot up to one-half hour of footage for publicity purposes (tv, websites, etc), of which no more than 3 minutes can be shown, and no scene may be longer than 30 seconds and/or a complete song (also under COST rule 56, pages 71-75). 

Now as far as the publishing house is concerned, the specifics regarding recording should be included in the Royalties contract that the theatre signed when they got the rights to produce the show.  This will vary by show and publishing house.  Check with your producer for the specifics.

281

The Hardline / Re: What Colleges (Don't) Say About AEA?

« on: Jul 31, 2006, 04:19 pm »

The theatre program at my college really didn't talk much about the business side of theatre--marketing yourself, resumes, auditions/interviews, union membership, etc--which was unfortunate).  My stage management professor was the only professor I had that discussed the business of theatre, so I was fortunate enough to have a basic understanding of AEA when I graduated as well as ideas on how to market myself, how to find jobs, etc.  However, the acting professors never discussed it with the actors; some of them graduated not even knowing that there was a union for actors (I went to school in Texas, and there are only eight theatres in the San Antonio/Austin area that are AEA, so most theatres that the students are familiar with in the area are non-union).  I do think that the focus of the BFA acting program, though, was to prepare the actors for graduate school as opposed to acting professionally right out of undergrad. 

I really learned about AEA during my stage management internship (earning EMC points) and the year that I spent as a company manager and felt that my experiences there helped me make an informed decision when I signed my first Equity contract and joined the union. 

282

Students and Novice Stage Managers / Re: Actor's Packets

« on: Jul 17, 2006, 03:50 pm »

I usually put the following information in actor packets:

• Updated contact sheet
• Updated rehearsal/performance calendar
• Updated cast list
• Wallet card
• Updated script pages (if there have been cuts)

I give all of this to our Company Manager, who puts together the packets and passes them out at first rehearsal during the Company Management Business Meeting.  Company Management includes the following additional information:

• Welcome Letter from the Theatre
• Theatre Information Packet (includes theatre policies as well as information about local restaurants, banks, etc.)
• Complimentary Ticket Policy and Form
• Fire Evacuation Procedures
• Map of the buildings on the Theatre Campus

283

The Hardline / Re: Changing professions

« on: Jul 12, 2006, 09:32 am »

As AEA is the union for Actors and Stage Managers, yes, any show you do as an actor or as a stage manager must be union once you are a member.  There are many actors who SM to get their Equity card because they find it an easier route for them than the acting one.  Please consult the AEA website, http://www.actorsequity.org, for further details. 

I'm unsure of the relationship between AEA and SSDC and the implications membership in AEA would have on your directing prospects. 

284

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

« on: Jul 08, 2006, 01:53 am »

Like Fisheje198rm, I have two SM kits.  I have a small toolbox (12" x 4" x 6")that I got at Dollar Tree for $1 that holds pencils, post-its, band-aids, tape, etc.  It's essentially a mini version of my big kit, which has all that stuff, just in a larger quantity and variety (i.e. a rainbow of sharpies instead of just black or large AND small paperclips).  I always have the mini kit with me.  In rehearsal, it lives on my table.  In performance, it lives somewhere in the booth (it's serving as a stand for my prompt book in my current production).  It depends on the production and the theatre as to whether or not I bring in my big kit, as well as whether or not my assistant has a kit. 

For me, my kit is an essential tool for my job. 

285

Stage Management: Plays & Musicals / Re: The SM times are a-changin'?

« on: Jul 08, 2006, 01:38 am »

My question was geared more towards the artistic maintenance of the show (i.e. changes in blocking, new line readings, etc.), although line notes arguably do fall under the category of maintenance.