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Messages - PSMKay

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286
Introductions / Re: Long time reader, first time poster
« on: Mar 06, 2014, 08:23 pm »
Wow wow wow I am behind on my modding duties. Not used to that hat yet, my apologies.

Welcome to Sarah and the ninja army! (If they're there. I generally play it safe and always assume there are ninjas present.)

I know what you mean by the moments that make it all worthwhile. The audience response is often the best part of the job. I can't fathom how film folk manage to keep going without that live feedback.

Thanks very much for joining properly. Please do make yourself at home. You're on the right track.

287
Employment / Re: Websites part deux
« on: Mar 03, 2014, 05:32 pm »
I have not worked with Wix. I do use the open-source Wordpress for a couple of sites and am pretty happy with it. SMF is easier to work with but that may be due to a 5+ year discrepancy in my own familiarity with the code.

I've written guest content for Wordpress.com blogs and found that the content creation interfaces were great but the design back-end was pretty opaque. However, if you're fine using a boilerplate theme (which I sometimes am and sometimes am not...ahem...) it should be great. There's plenty of themes out there. It's also remarkably easy to convert Wordpress from a "blog" format to a portfolio format.

The nice thing about Wordpress is the heavy focus on SEO. Now, you still need to keep your keywords in mind when you're creating your content, but for the most part the search engines will pick up something posted to my WP sites long before they pick up something published in most other formats.

SMNetwork and all my other sites use Linode for hosting, which is a mid-to-high range VPS host. I am over-the-moon happy with them so far. Prior to Linode we were using InMotion Hosting, which was fine for a basic site with modest traffic. I still refer a lot of my design clients to them. Once we got to a certain traffic level they gave us the boot, though, which will be the case with many of the "cheap" hosts.

288
The Green Room / [GAME] The Show Report
« on: Feb 28, 2014, 12:54 am »
Continuing to test my hypothesis that stage managers can play theatre games too... here comes... "The Show Report!"

So Hell in a Handbag was reasonably popular last year. In fact, I have it on good faith that it has snuck into several stage management courses as a classroom activity. It focused on how small notes that can come up during the rehearsal process can cause big problems. Well, the beast of a show that we were "rehearsing" last year has somehow made it to opening night! It's time for you, the beleaguered stage manager, to write the show report for a performance where everything goes wrong.

Here's how it works.
Quote
Player #1 presents a problem that occurred with the performance. This can be anything from missed entrances and drunk stagehands to broken props and missed entrances.

Player #2 provides the follow up on how the problem was solved and what preventive measures should be taken to keep it from happening again. Player #2 then lists the next catastrophe that occurred.

Repeat ad infinitum.

Some basic constraints:
- The show is occurring in an indoor, land-based proscenium house.
- The production is non-union.
- You have a crew of reasonable size and average competence at your disposal, but not an entire battalion of Batman clones and Time Lords.
- Similarly, you have at your disposal items that would traditionally be contained backstage. First aid kits, hardware, spare scenery, flashlights, sewing kits, heavy objects, etc. However, due to a planning oversight there is a limited supply of gaff tape. Gaff tape may only be used to solve a problem once per page. (That is to say, only once every 15 posts.) (Admin may use gaff tape a 2nd time if the game appears to be stalling.)
- The production is a musical revue. Don't worry about constraining your "problems" to conform to a particular scripted plot.
- The "problems" can be due to issues from outside the company - audience members, weather, etc. However, please stay away from any "problems" and "solutions" that would cause widespread global havoc beyond the theater doors. This includes things like nuclear annihilation, giant radioactive lizards, first contact, splicers, head crabs, fairy magic, lembas bread, political intrigue and generally violating the laws of physics.
- You can rip your problems from the headlines of your own career - please do! - but use caution and don't name any names.

Hell/handbag started with Amy and her bagel, and that worked so well. Let's do that again!

First problem: Amy choked on her bagel and spent several minutes having a coughing fit.

289
Employment / Dear Abby: My PM is quitting. Do I want their job?
« on: Feb 27, 2014, 05:34 pm »
SMNetwork members who wish to ask questions of the community while remaining fully anonymous are able to use our Dear Abby program. Dear Abby messages are sent to moderators or me via PM. The chosen mod then posts the filtered and anonymized question on their behalf.

Here's one that arrived in my inbox today.

Quote
Dear Abby:

My Production Manager has confided in me that they're looking for work elsewhere. They haven't told anyone else in the office yet, and do not have a new position secured. I'm considering applying for their job if/when they leave.

Here is what worries me:

1. I'm not an AEA member yet. I am building up my resume so I can move toward joining AEA, and a PM position doesn't necessarily help.
2. I'm afraid of PMing taking up all my time and not letting me SM, which doesn't help me go AEA either.
3. I don't know how qualified I am for the job. We do work together a lot, and I know my PM has no formal training in PMing either, but I still worry that my admin experience won't be enough.
4. I don't want to be turned down and have everyone in town shun me as an SM who dared apply for a PM position.

I don't want to jump the gun and "out" my PM as searching for different employment before they tell their bosses, but I also would like to get on their radar before they start asking outside the company for resumes.

My work calendar keeps having holes and a salary and a regular-ish schedule at an office sound absolutely dreamy, but I don't want that to come at the expense of my SM career. But I keep hearing of SMs with day jobs, and why not a theater day job?

Does anyone have experience as a PM-turned-SM or SM-turned-PM? What about other theater jobs - TD, Artistic Director, ME...? Am I going against my best SM interests in considering this?


290
Yep, here's the original thread about contact sheets on the call board.

291
It is also important to remember that while one brave student in your cast may be decided and open about their sexual preference, others may be closeted or questioning. For those students, the treatment and attitude presented will certainly be internalized.

Our job of facilitating the creation of theatre includes making the room a safe space for all. Not just the ones who speak up, but also the ones who are watching.

292
Tools of the Trade / Re: Half-size binders
« on: Feb 21, 2014, 12:17 am »
I can see them being useful for an ASM on deck, perhaps. Easier to tote about during tech for making notes. Wouldn't want it as my permanent book though.

293
Employment / Websites part deux
« on: Feb 20, 2014, 03:03 pm »
Our old websites thread has reached 10 pages, and has therefore been locked. Here is the sequel.

As a reminder, this thread is for critiquing sites, not for promoting yourself. If you have made a personal website for your stage management career and would like feedback please post here.

294
This is a bit abnormal of a situation. Normally our Dear Abby posts are initiated by our members who wish to remain anonymous, by requesting that a moderator open a discussion on their behalf. In this case, a thread was opened by a member and then retracted.

One of our novice members recently posted a thread about working with gay students for the first time in a high school's drama club. However, as this individual posts to SMNetwork using their real name, they subsequently requested that the thread be pulled down, either out of embarrassment or fear.

It is my belief that the discussion had not yet run its course and that its subject matter is absolutely vital to have here for future SMs who might be in the same situation.

Yomanda removed the thread but archived the text (and its two replies) in our moderator area. With apologies to the original poster, I'm going to recreate the thread here with their name removed and their original post edited a little for clarity. Please treat it like you would any other Dear Abby thread.

Original Post:

Quote
It seems as though with the topics of gay marriage etc....more and more students are coming out as being gay. How does one deal with a situation with a gay teen in the cast with only two dressing rooms? It is also making some other cast members uncomfortable (possibly because of the complete foreignness of this situation) and we do have several very young cast members who don't even know what being gay means.

It was brought to my attention by one of the students in the current cast that the current situation regarding dressing rooms was rather awkward during our last show and did not elaborate. How should this situation be dealt with? How does one typically divide dressing rooms with gay casts? Do special arrangements need to be made in a situation like this? Also, is calling it "gay" even the correct word? Or is there a more politically correct reference?

I live in a very small conservative town, and quite frankly I have never met a young person like this before and know that the situation is extremely delicate. Thanks.

MatthewShiner responded:
Quote
Dressing rooms are divided between Male and Female, regardless of the sexual orientation.  You often will put minors in different dressing room then adults.  It tends not to be a big problem when you move into the professional theater world - as usually, given the diversity of the artistic community - they are either comfortable around the diversity or have learned coping mechanisms.

I think you just treat them as a cast member . . . and expect everyone to deal with them as a cast member.  If there is deep rooted homophobia in you cast / theater group, then you have a big problem to solve.  Hopefully, people can move past it and deal with people as human beings.

Now, if the gay performer is doing something unacceptable in the dressing room, then behavior should change.  But if other people just feel uncomfortable because the person next to them identifies as "gay', then that maybe something for them to work on.

Best of luck in a very difficult situation.

Tempest responded:
Quote
I am 100% with Matthew. You need to treat your gay cast member just like any other cast member. Because they are just like any other cast member. In regards to working with minors, you need to treat the gay cast member just like you would any other cast member. Because they are just like any other cast member. (Homosexual does not equal pedophile! Where do people even get that idea?!)

As far as the kids not understand what "gay is," it doesn't matter. Everyone's just there to put on a show, so keep the focus on that. Really, kids tend to be far more accepting of "different" people than adults are, unless they've been specifically taught otherwise.

I also agree with Matthew's discussion of other people feeling uncomfortable just because the person at the next mirror is gay. That is their problem, and one they'd better deal with quickly if they intend to keep working in the arts, or really, go out into the world at all.

What really concerns me is your description of it being such a small, such a conservative town that you've never even met a gay person before (really, truly, please just treat them like everyone else!). If your cast member came out of the closet recently, they're probably feeling very nervous and on edge. Or they may be susceptible to bullying, especially if it's socially acceptable to harass homosexuals in your community. You might want to keep a weather eye out for them, and know what to do and who to go to if that's an issue. Young people have committed suicide in those situations; someone else stepping in and saying, "It's not okay to treat people like that," whether it's you or someone else, could save a life.







295
There are still visual and indirect cues all over the place. Cue lights are a form of them now that calling from a booth has become more commonplace. Board ops might need to do a visual cue when practicals are involved - think, turning on a lamp or a light switch, or answering a ringing phone. Nearly all follow spot cues would have to be on visuals.

On deck I can recall a situation involving a character who hanged herself towards the end of the show. The scene was set on a platform about 9' up in the air, and for safety's sake rig was controlled from behind a pillar immediately adjacent. I had to sneak behind the pillar during a blackout, stay there to hook her to the rig, run the rig up, and then stay behind that pillar absolutely motionless for the last 15 minutes of the show. I had a wireless com on but had to turn it off so that audio bleed from my ears didn't carry into the house during this emotionally wrenching and silent scene. I obviously could not see anything except masonite, rigging and steel directly in front of my nose so the whole sequence was completely out of the SM's control once it began.

297
The Hardline / Re: EMC Weeks
« on: Feb 15, 2014, 08:14 pm »
When I was EMC they counted actual calendar weeks worked. I did 8 weeks of stock working multiple eligible shows simultaneously, followed by a 50 week long internship where I was in a similar position as you described. At the beginning of the internship I opted to inform AEA that I was doing 4 shows instead of 5 to avoid capping out my EMC weeks, as I was not interested in working the Chicago scene with a card due to the scarcity of union houses. If they had been counting the weeks spent on the individual productions I'd have been able to report only 2-3 of the shows.

Of course this was about 16 years ago so definitely consult with the powers that be in your region.

298
Employment / Re: WHAT NOT TO PUT ON YOUR RESUME . . .
« on: Feb 09, 2014, 11:36 pm »
66 on Flappy Bird?!

Monocle pops out. Spit take.

Mon dieu! Hire this man immediately!

299
Introductions / Re: Here to Learn!
« on: Jan 27, 2014, 10:55 am »
You can activate email notification for all of your posts in your Profile, under "notifications." This is turned off by default since many members consider these notifications to be spammy.

Or if you prefer, you can turn it on for individual threads by following kmc's instructions above.

Returning to topic, have you tried any of the other backstage tasks like design, electrics or deck work?

300
Introductions / Re: Hello Everyone! :)
« on: Jan 27, 2014, 07:04 am »
Hi Evangeline and thanks for joining us.

Have you had any experience outside of your school's theatre department?

For your college question you'd be better off taking a look at our Colleges & Graduate studies board and posting your questions there regarding your choices of schools. Expect folks to respond to you on the boards rather than via personal message. We prefer it when conversations can be shared with everyone, as it cuts down on the number of times that we have to have the same conversation.

Also, before you jump too far into the board please familiarize yourself with our search function (top right corner), our related posts feature (at the bottom of each page of posts), and most importantly, our community guidelines.

I was thinking of starting up a spin-off of BTDT for alums to list where they went to school. Do you think that would be useful?




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