Messages

31

Introductions / Re: Greetings

« on: Feb 02, 2014, 09:35 am »

Welcome to SMNetwork. As you go through your educational career this is a great place to supplement what you are learning in school, learn new tips and tricks, and vet ideas with your peers and with experienced SMs. Once you start making the transition into that dreaded "real world" this will be the perfect resource for making it go as smoothly as possible. There is so much information to be found!

Great story by the way I hope both of those crew guys went on to star in productions of Les Mis!

32

The Green Room / Re: Front End Stage Managing

« on: Jan 24, 2014, 05:55 pm »

We do that similarly to what you did in DC. But I haven't really noticed it outside of that..maybe you are forging new territory.

33

The Green Room / Re: Article: how to get good people to quit

« on: Jan 24, 2014, 05:53 pm »

I read this today! Very good...

34

Employment / Re: Taking Apprenticeships after working as a Professional SM?

« on: Jan 24, 2014, 05:49 pm »

You could even do neither if you wanted! The possibilities are endless...

35

Students and Novice Stage Managers / Re: Unpaid Interns, Complicit Colleges

« on: Jan 02, 2014, 02:26 pm »

Here's a link to another article about internships at Sleep No More

http://www.ibtimes.com/former-sleep-no-more-interns-say-immersive-nyc-megahit-offers-little-educational-benefit-1499418

I also agree with maximillionx's teacher and it's something I wish my teachers pushed more, the concept of getting paid what you're worth. I'm in my last year at a conservatory training program and I think reaching for a paid position will be more beneficial in both the short and long run, for both money and experience. I don't want to arbitrarily limit myself to only internships because I'm "new".

I agree too, but I wouldn't exclude paid internships just yet though, there can be a lot of benefit to them, especially when you are compensated equal to a entry level position. In my experience a paid intern/PA position at a better company beats a slightly better paid higher level position at a small company, but that is my personal preference and I had no desire to spend my summers sweating away in a barn or the equivalent.

36

Stage Management: Plays & Musicals / Re: COMMUNICATION: CC/BCC and Email Etiquette

« on: Jan 02, 2014, 02:14 pm »

Without going into a diatribe on replies to all, redundant emails, etc... I will just say that I 100% agree with your 100% statement!

but for realz!!! OMG! Redundant emails ruin my life.! lOlZ! Also when people CC my superior on something that they delegated to me which totally defeats the point and makes me crazy (similar to a passive aggressive CC but not quite.)

But as far as etiquette goes, learn how to write a business letter and simplify from there. I would rather someone be over formal than send me a text speak email in powder blue monotype corsiva font with emoticons or whatever we call them now.

37

Employment / Re: Dear Abby: advice on how to choose between offers

« on: Jan 02, 2014, 01:47 pm »

For those who are not fluent in UK English, CV ("curriculum vitae") is a resume. And whereas in the US the chain of command goes PSM -> SM -> ASM, in the UK it goes SM -> DSM (Deputy Stage Manager) -> ASM.

I like to call it "English English", my partner (who is English) does not find it very funny...

38

Stage Management: Plays & Musicals / Re: RUNNING: ASMs running off a script

« on: Jan 02, 2014, 01:42 pm »

Thank you for your input. I have been doing the running sheets primarily because ASMs are now being part of the process earlier than tech. We haven't had much interest in stage management in the past and most ASMs were put on the show to fulfill the hour requirement set by some classes. I provided them with helpful paperwork and notes to help run backstage.

With ASMs being part of the production as early as the first-rehearsal, and it being my job to oversee the stage management as a whole now; I think I will introduce the idea of Assistant Stage Managers to start putting together running sheets.

Do you have any recommendations to help start this process?

I am a reluctant "toss them in the deep end" kind of person. I always hate it but I always find it works best for me to really understand how to do something. You may suggest they come here for ideas, suggestions and advice . I find telling them they need to have all the information to run the deck and the crew during tech and run of show lights a fire. They will probably overdo it but better to be thorough at first anyway.

39

Stage Management: Plays & Musicals / Re: Stage managing negative shows . . .

« on: Jan 02, 2014, 01:24 pm »

I've noticed all these things to be true Matthew, on a show that has had a negative atmosphere.

BUT, I usually find that no matter what environment the Stage Manager tries to create, that the fish stinks from the top. If the DIRECTOR has not provided strong leadership, specific characters, specific moments, specific staging, mined every laugh out of a script, and given EVERY actor in the show at least one moment to stand out, "star" or be special, the situation can deteriorate very quickly.

All the things you mention happen when actors don't feel supported, or feel like they had to create the play themselves. We as Stage Managers do the followup leadership. The tone and the quality of work, has to be set in the room and the rehearsal by the Director by his or her own tone and quality of work.  If that's not there, it's always difficult to keep the cast's noses out of the rulebook, have them not call out for tiny ailments, or aggressively go after other employment so that they can out in for MRE or even give notice. Directors have a huge responsibility in keeping their actors happy in a show, and it starts on Day One of rehearsal. 
[/b]

One of the most important things about stage management can be setting a positive, upbeat and professional atmosphere . . . but what happens when your attempts fail – either the are aspects of the production out of your control, or the show was doomed to failure before you start – and the atmosphere turns negative – bad rehearsal environment, heinous tech, bad reviews, or small houses – can lead to a negative buzz about the production.

What I have noticed over my career is how much more difficult is it to stage manage a production that has a “negative” buzz.    Has anyone else noticed some of these things?

1)   Performers will call out sick quicker and let understudies go on more often if there is negative buzz.
2)   In AEA situations, the productions with the negative buzz, seem to be the one where the deputy or the cast is throwing up every rule in your face.
3)   In contracts with the MRE, actors are much more like to MRE out the show.
4)   For longer runs, actors are much more likely to “get out of their contract” anyway possible.
5)   It’s also harder to maintain / note these type of shows.
6)   Actors are much more likely to play those onstage games to keep them some entertained.

Anyone else notice these or other things on these "Negative Shows"?

Have noticed this too. I have found that small houses and negative reviews are much easier to handle than bad environment and internal issues with direction like what Ruth is talking about. If a director sets a bad tone then the SM is in for a hell of a ride. I think it is actually one of an SM's hardest tasks how do you respect the director and his vision, environment and personal preferences when they are heinous and the cast knows they are heinous and they know you know they are heinous? Giving notes is hard yes but still doable but when people start "acting up" it seems like it is an entirely uphill battle.

40

The Hardline / Re: AEA: LORT Volunteering versus volunteering

« on: Dec 19, 2013, 03:21 pm »

That's a hard one...and I've got nothing. I think it's one of those things producers refuse to understand. But if no one "volunteers" maybe they will get the message.

41

The Green Room / Re: Your Paranoia/Obsession

« on: Dec 19, 2013, 03:17 pm »

For a long time I had to make sure every page of the calling script was there.

(It's what I did between 15 minute call and 5 minute call)

I had to scan a calling score for my PSM once, I checked it over twice, and somehow still ended up with two pages out of order when I put it back in...this was for an opera...I wanted to fire myself.

42

Students and Novice Stage Managers / Re: Stage Manager Buzzfeed article!

« on: Dec 15, 2013, 08:19 pm »

Cute!

43

The Green Room / Re: Your Paranoia/Obsession

« on: Dec 15, 2013, 08:16 pm »

I always think my headset is so loud that everyone, including actors onstage and the audience can hear it...I am constantly adjusting the volume, but then I think I can't hear so I turn it up and the cycle continues. I should point out I only use huge pretty-much noise canceling heavyweights, but I am still not satisfied.

I am only going to say that one because it is the biggest but I have a ton of others...

44

The Green Room / Re: ARTICLE: Sleep no more UNPAID interns

« on: Dec 15, 2013, 08:02 pm »

No, unpaid internships have their place, if it is truly an educational experience, and they are able to do their day to day business WITHOUT you.... And $150 a week plus housing, although not a living wage, it is not a bad internship salary.

A lot of internships are unattainable if you don't already live and learn in a major city. I will never have in internship in NYC or Chicago because I don't already live in NYC or Chicago.

That is my major problem with these companies. In my experience the theatres that don't pay people also never offer truly educational experiences they rely on the interns to make the company function, mostly due to their lack of funds. Maybe if you are in a major city they could be very flexible and work around your schedule and only use you for learning opportunities but I feel like even in major cities that doesn't happen. But otherwise people cant move to a new place for an unpaid internship Or even a part-time one.  You should be benefiting more than the company and I find that is rarely if ever the case with these unpaids. But can anyone who has done an unpaid internship, truly liked it, and felt like they shouldn't have been paid for what they did during it? That it was truly just an educational experience?

I mean if I took an unpaid internship I would expect to work around my schedule, for as long or as little as was necessary to learn what I needed to learn, I wouldn't sit around in 8 hour rehearsals all day, it's just not practical. I have never done an unpaid so I don't know, I have been fortunate enough to only take hourly internships cause I don't think i would have survived otherwise.

45

The Green Room / Re: ARTICLE: Sleep no more UNPAID interns

« on: Dec 12, 2013, 01:00 pm »

I have acquaintance from college who just ended her  SM Intern at Sleep-No-More I haven't heard her opinion on it, but from her Facebook she seemed to enjoy it. (Maybe this was here??) Mind you she is not really a trained or experienced SM so maybe the had some factor into her choosing it or their selection process. Regardless this is just pathetic, there is just no excuse anymore, pay people or don't hire them. Privilege, experience, and connections are wonderful but they are no longer something you can rely on, these things need to change.