Messages

31

The Hardline / Re: Employee-Handbook Required Preshow Calls (and more)

« on: Oct 13, 2013, 10:29 pm »

The Production Contract also has plenty to say about lateness and I've copied the section about various fines below.  Lateness in rehearsals is also addressed separately, but is quite lengthly.  The rule number is referenced at the bottom of this post, if anyone wants to check out all the language.

50(G) Lateness. If Actor is late for "half-hour" more than twice within any sixmonth
period, Actor will be fined the following amounts for each lateness
commencing with Actor’s third lateness:
(a) $75 for Actors earning $2,500 per week or less;
(b) $150 for Actors earning more than $2,500.
All fines will be remitted by the Producer to the Actors’ Equity Foundation and will
be deducted from Actor’s salary on a pre-tax basis. An official and accurate clock
will be designated. Written notice of lateness will be given to both Actor and Equity. This rule shall apply uniformly. If it is determined in grievance or arbitration
that the rule has not been applied uniformly, Producer must remit all fines assessed
within the six months prior to the fine that is challenged.
It is understood that this will not affect Producer's right to send Actor home and
reduce salary accordingly. However, if Producer does send Actor home, Producer
cannot also fine Actor. The foregoing does not waive or alter the Producer's right to
terminate Actor for just cause in the event of chronic lateness, including any
lateness for half-hour or rehearsal.
(H) Where practicable, Producer shall endeavor to provide advance notice to
Actors of their required attendance at a rehearsal to be conducted during a
performance.

(See also Rule 58(D)(1)(i), REHEARSALS)

32

Tools of the Trade / Re: Simple Ground Plan Design Program

« on: Jul 06, 2013, 12:20 am »

I recommend using Microsoft Word with Autoshapes.  I've had a lot of success creating straight-forward diagrams for crew this way. 

The "group" function is very useful.  Once you're happy with the relative relationship between two objects (for example, the circle representing a chair and a rectangle that's a table next to it), select them both, right-click on the mouse and select "group".  The two objects will then be manipulated together as a group.  This way, if you add text above the diagram, you won't lose that perfect spacing between them.  You can also angle them together, resize them together, etc.  BUT the function still allows you to change an individual object within the group too.  This becomes especially helpful if you have multiple diagrams within one document - no worries about updating one diagram and consequently having to re-do all the subsequent diagrams beneath it.

Play around with Word and Autoshapes a bit, and in no time, you'll be producing clean, easy-to-read diagrams.

33

Students and Novice Stage Managers / Re: Meetings?

« on: May 24, 2013, 01:41 am »

I'd recommend you bring a notepad, a few pencils and maybe your laptop if you have one (just to transfer files if necessary).  I suspect this kind of private, primary meeting will be pretty low-key.  I've met new PSMs over drinks at a bar, in the middle of huge production meetings, and even on first rehearsal.  The chance to get together before rehearsals begin is a good thing - this is a chance to get to know each other, to know the PSMs expectations and needs, find out a little about the productions and its specific challenges, and where you fit into all of it. 

In the professional world, ASMs may or may not be a part of pre-production work, depending on the contract requirements, the size of the show, the producer, etc.  Production contracts (Broadway), for example, require the PSM gets 2 weeks paid pre-pro, 1st ASM gets  one week of paid pre-pro and the 2nd ASM gets at least one day prior to 1st rehearsal.  Some regional theatres I've worked for default to give ASMs 3 days or more of paid pre-pro depending on the scale of the show.  As a professional ASM, I prefer to do pre-pro work whenever it is possible.  Helps me get to know the show, the company, etc, which in turn makes me feel more confident heading into first rehearsal.

But the scope of work during pre-pro varies by show and PSM.  I've spent days of pre-pro with tasks as varied as setting up a rehearsal hall or temporary office, pulling rehearsal props, communicating with department heads about scheduling, chained to my computer editing reams of paperwork or prepping actor packets.  Only your PSM can tell you what your tasks will be - so go into the meeting prepared to listen and take notes and you should be fine. 

One word to the wise - dress neatly (first impressions count, after all) but still functionally.  My first day at my first internship I dressed very nicely since its was an SM-only kind of day and I ended up hauling lumber in ballet flats by 5p.  And the PSM commented on my shoe choice.  Lesson learned. 

Good luck!

34

The Green Room / Re: Tony Awards

« on: May 04, 2013, 12:37 am »

I think there should be a tony award for stage management.

This year, a stage manager IS receiving a Tony Honors of Excellence in Theatre - that distinction is going to career Broadway stage manager Peter Lawrence. I'm sure he'll receive it during a non-televised event, but know that one of our own is getting some recognition this year.

Here's the link to the Tony website, and the blurb on Mr. Lawrence.   http://www.tonyawards.com/en_US/nominees/artists/201304291367199153929.html

35

The Green Room / Re: FACEWASH - clean up your facebook profile.

« on: Apr 04, 2013, 05:52 pm »

I also came away pretty clean.  One flag that cracked me up?  A birthday message from a crew member that said "Happy birthday to the most hardcore stage manager I know." 

36

Stage Management: Plays & Musicals / Re: TERMS YOU NEVER HEARD OF BEFORE

« on: Dec 28, 2012, 12:56 am »

Two terms that were complete mysteries to me early in my career, both related to understudies, and neither of which I experienced in 2 years off broadway, but are commonplace in larger regional theatre and Broadway due to contractual obligations:

Stuffers - those little slips of paper "stuffed" into the playbills that inform the audience of a cast change.  (Typical language: At this performance, the role of xx, usually performing by Actor One, will be performed by Actor Two).  I had no idea this things were stage management's concern, and in actuality, they can be a big logistical project.  Some shows create them on an as-need basis, printing, copying and cutting them day-of.  On broadway and on the road, entire closets or road-cases can be devoted to storing pre-prepped stuffers for any given understudy scenario.

In/Out (also heard it called the "Daily", the "At This Performance"): A document prepared by stage management to inform the cast, crew and staff of the theatre of a cast change.  The name comes from the columns in the document indicating which actor is "out", which understudy is "in" and the roles involved.  Often will include any other changes to the show, additional rehearsals, the conductor per performance.  Its posted on the callboard, distributed to department heads and usually read as a part of the half-hour call.  I've worked in theaters where this document is prepared only when an understudy is on, and in theaters where is is distributed every performance regardless of whether an understudy is on or not.

37

Stage Management: Plays & Musicals / Re: BLOCKING: Blocking notation and stage spikes for 2-level set

« on: Sep 15, 2012, 11:53 pm »

If your rehearsal room has the depth to, I would recommend taping the second floor US of the first floor.  I used this method on a show with a two-story set and it worked very well.  In fact, we had enough room to tape the 2nd floor US and SR of the first floor, so the director could see both sets of action at the same time.  Made for a few weird moments going up/down "stairs", but it was a compromise that was worth it.

If the two floors are taped one-on-top-of-the-other, how can you handle concurrent actions happening in the same floor space (i.e.: two actors talking on floor 1, while another actor enters through a door directly above them on floor 2)?  If the room is taped that way, the three actors would end up sharing space in the rehearsal hall that could make staging very difficult to visualize, or even actualize.   I'd  be curious to hear from anyone who has successfully rehearsed / staged a show this way. 

38

Stage Management: Plays & Musicals / Re: Time question

« on: Sep 13, 2012, 10:29 am »

This thread is fascinating to me - I've worked on a lot of shows with a lot of SMs, and it's always been to the second.  It has never occurred to me to round up or down. 

39

The Green Room / Re: 54 uses for Binder clips

« on: Jun 29, 2012, 04:01 pm »

I've used binder clips attached to a piece of cardboard to simulate a cue light box when learning to call a show.  Super nerdy?  Yes.  Super effective?  Absolutely.

40

The Hardline / Re: Calling all SPT stage managers

« on: May 14, 2012, 01:05 pm »

Having only worked on the SPT contract once 4-5 years ago, just curious - what is the issue at hand?

41

The Green Room / Re: Happiness is...

« on: Sep 22, 2011, 10:50 pm »

...when family / friends arrive unexpectedly at a performance. 

42

Stage Management: Plays & Musicals / Re: 2 Shows in Repertoire

« on: May 02, 2011, 10:20 pm »

A few rep tricks I've used over the years:

1. Spike marks.  Cover all marks for each show with marley tape.  When turning over from show 1 to show 2, cover the marley for show 1 with black gaff (or whatever color gaff is least conspicuous on your deck).  I then add a spike mark check list to my turn-over list, to make sure I have uncovered all of the marks needed for each show. 

2. I agree with the above posts to keep separate books for each production but, with overlapping cast and creative staff, I highly recommend you duplicate basic documents in both books (ie. contact sheets and calendars for both shows in both books).  Invariably, cast member will have a question or concern about show 2 while in rehearsals for show 1.

3.  One notebook, two clipboards.  Notebook for all notes for both productions, but a separate clipboard for each show with important rehearsal running documents (presets, cue sheets, etc).  This is definitely a personal preference, but a system that worked really well for me.  Helped me avoid accidentally leaving preset for show 1 in binder 2.  I can't explain why, but it worked.

43

The Hardline / Re: AEA ASM?

« on: Apr 27, 2011, 01:05 am »

There are some theatres in this country - and I won't mention by name - but they have a staff member be the SM of record, often the Box Office Manager, and they have a non-AEA person really stage manage the show.  These type of theaters completely devalue the role of stage management.

This is not a hypothetical situation, I've seen it, on big musical productions, specifically in regard to the role of Equity ASM.  I won't name names, either, but I'm curious if this situation is the sort of thing that could/should be brought to union's attention, or in fact having someone - anyone - signed to both an SM and ASM Equity contract is enough to be a-OK with Equity.  In principal, it's infuriating, and feels like it MUST be illegal, but I somehow don't think it is.

What about giving this info to Equity after the fact?  If you've already been put in this bad spot, a PSM stuck with a ghost-ASM, the likelihood of Equity being able to "fix" the problem (aka - replace the ASM or make the ghost-ASM actually *gasp* do their job) is unlikely. 

So I recommend waiting to putting that call into Equity until after the show is over.  Then call your rep and give a post-mordem of sorts.  That way Equity has a record of complaint / concern without overtly jeopardizing your position with a company.  You don't know how many other problems or complaints Equity has fielded about your company.  Maybe this is one of many.  In my experience, the companies that cut corners usually cut more than just one.

I think it is our obligation as the members "in the trenches" to provide the Union with knowledge of the conditions under which we work.  To make the reps aware of the theatres that employ this practice is to empower our union to make things better in the future.  Maybe the language of the contract can be tweeked at the next negotiation to close this loophole?  Or maybe Equity won't be so quick to grant a concession to an "offending" company? 

44

The Green Room / Little luxuries...

« on: Jan 21, 2011, 02:16 am »

What are your "during tech I allow myself..." or "during tech I treat myself..." treats?

Come on - we all know tech is an excellent excuse to eat poorly, not exercise and sleep even less.  But do you have any little allowances, gifts or passes in behavior that you generally allow yourself? 

My present to myself: first day off after opening - a massage.  Money has never been better spent.  I'm also not a big fast food eater, but tech is my Most Likely Time To Eat McDonalds.  And I don't beat myself up for it.  The 80 hour work week is doing enough of that for me.

45

The Hardline / MRE under Off-Broadway Contract

« on: Nov 11, 2010, 12:36 am »

I know MRE (more renumerative employment) has been discussed in the past, but I discovered something off-putting in a recent reading of the Off-Broadway rulebook that I wanted to share / discuss with the boards:

Under the Off-Broadway contract, the MRE clause can be invoked 12 weeks from the first day of rehearsal (see pg 42, rule 39D).   Presumably, if a show doesn't run long enough to reach that 12 week mark, than MRE can not be invoked at all in that production.

I checked a couple of the other contracts with MRE (SPT & HAT), and Off-Broadway is the only one I found with this limitation.  In my mind, this rule is really tilted in the favor of the producers.  A lot of Off-Broadway companies simply don't have runs that exceed 5-7 weeks, so there's never even a chance to get near that 12 week mark where an MRE could be legitimately claimed.   In fact, I venture to guess (with no data to back this up) that category A, with the lowest salary and therefore the highest potential use of MRE, rarely breaks that ceiling.  And remember, this also applies to any (even lower-paying) NYC-LOAs floating out there.  Sidenote: the Mini contract seems to allow for MRE more in line with the SPT / HAT model.

This limitation does not seem to acknowledge the financial & salary limitations Equity members are willing to make in order to work in NYC.  The MRE clause had, to me, always seems like a nice little trick to keep in my back pocket to use "one day".  Now I'm doubtful it could apply to the work I do.   And I'm not ignoring the implications for a producing entity if an actor were allowed to claim MRE in limited runs - cost of understudy rehearsals, show cancellations, possibly screwing up preview rehearsals in new works.  I get all that.   But in this case, I sort of feel like Equity is helping the other side.  Thoughts?

Anyone have a sense of if the rule has always been written this way or if its a recent change?  This is one I'm tempted to write into the Council about for the next round of negotiations.