Messages

301

Tools of the Trade / Re: So our theatre is poor, but I'm trying to make a cue light system.

« on: Nov 27, 2011, 04:53 am »

If the theater has a headset system and you have spare belt packs you could use the call button. Providing you have people who are smart enough to never use the call button around the time you have a cue.

302

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Rights & Royalties

« on: Nov 20, 2011, 12:16 pm »

I whole-heartedly agree with Matthew.  General Management should be delegated this task--if not soley for any leagal issues that may arise:

The real challenge comes if you're trying to obtain rights to a production from an estate and not from a publishing house. Like dealing with the Orwell estate or something like that. That can be tricky because estates are VERY protective of IP.

Stage Management should not have to deal with those issues in addition to all the duties stage managers do already.

Dallas asked for tips. if the team was told they have to and they have no union protection, what can you do about it? Regardless if it should fall on on general management, its not.

303

Stage Management: Plays & Musicals / Re: Rights & Royalties

« on: Nov 17, 2011, 10:33 pm »

Obtaining rights really isn't that much of a challenge if you're going through the normal routes (Sam French, Dramtists etc). You simply contact those companies and let them know the basics of your particular run, and they either let you know you can or can't depending on other productions that might be in your area. They'll ask for a deposit, and you give it to them along with a signed agreement (I think.....it's been nearly a decade since I've actually had to do this) and boom. You have rights.

So in terms of getting it done during rehearsals and performances, a great deal of what you do is written so you could in theory do it on a break or during long no cue sequences. I would imagine since the dawning of the information age you could pursue rights and royalties online now, too. That would be even easier than how I had to do it in college.

The real challenge comes if you're trying to obtain rights to a production from an estate and not from a publishing house. Like dealing with the Orwell estate or something like that. That can be tricky because estates are VERY protective of IP.

304

Students and Novice Stage Managers / Re: Student SM Challenge #15: Her Method is Madness

« on: Nov 12, 2011, 12:09 pm »

Just to add an interesting experience to the mix -

I once did a vanity production with an actress who...  let's say, presumed more than her role without fulfilling her own. She kept threatening to quit until one day, the director took her up on it, replaced her, and stood his ground when she insisted she hadn't meant it.

Me heart this director. Me heart this director like whoa.

305

Stage Management: Plays & Musicals / Re: Battery Drain on wireless mics

« on: Nov 08, 2011, 12:06 pm »

How and where are they stored when not in use (not only between performances but also between productions)? If these are house owned mic packs, I'd imagine they are stored together and if they were to get some damage, they could all receive the same damage.

Personally, it sounds to me like the units themselves are faulty and not the batteries. If the packs are drawing all the juice out of the battery at a rapid speed, it might be a short in the pack themselves. And like I said, if they were stored together it stands to reason they would all suffer the same damage. 

306

Stage Management: Plays & Musicals / Re: PRESS RELEASES

« on: Nov 06, 2011, 01:31 am »

I've also always found it aggravating to exclude Stage Managers in press releases. My current production excluded me from press releases, but they did remember to put my name on the board with the AEA cast  (because there's a rule that says they had to :p)

Strictly speaking business, I'd bring it up in the initial contract negotiations. It's you getting your name out there just like all the actors and designers get the chance to. If they say no, what did it really hurt? You already have the job, and if you bring it up as "this is a good way for me to help sell myself in the future" I don't think many companies would begrudge you.

I understand why they do it. SM's don't sell tickets. Marquee actors, designers and directors do. So why would the lil' ol' stage manager need to be in our press release? But the other edge of this sword means it's really nice when you see a press release/kick ass NY Times review and your name is listed as the stage manager.

As for ways to broach the subject beyond negotiations in the beginning....I really have no idea. I've never actually took a stand to be included in publicity. I always took the "go with the flow" mentality.

307

The Green Room / Re: Best one-liner from a performance report

« on: Nov 04, 2011, 01:43 pm »

After six years working in DC, I have quite a few stories about Secret Service . . . .

Always a treat.

(Did they listen in over headset?)

Thankfully no. That would have been particularly awkward since I had lots of technical difficulties last night with my projections and kept sighing heavily into the headset out of frustration. I'm sure at times it sounded like the headset chatter was subject to a crank call.

He actually left before the show, and just his family stayed behind so most of the Secret Service went with him. I think there were only a couple left standing in the back of the house.

308

The Green Room / Re: Best one-liner from a performance report

« on: Nov 03, 2011, 11:48 pm »

How about this one from my report tonight:
- We held the open of house to give Vice President Joe Biden and his family a tour of the set preshow....I'm pretty sure this was acceptable to all involved.

I think this qualifies as a #RealLifeHumbleBrag on twitter. This was slightly mind boggling, and PS: Secret Service make me feel antsy.

309

Stage Management: Plays & Musicals / Re: CALLING: Projections...how do you call it?

« on: Oct 27, 2011, 10:21 pm »

As an update: I'm in tech for the production with the Projections and I'm using "Tabs" to great success. I even dropped a bit o' knowledge on my deck chief (Equity SM but not on contract as such for our production) who's been working professionally since 1981 who had never heard the Tabs designation before.

But it keeps the air clear with Electrics, Sound, Deck and Tabs.

310

Self-Promotion / Re: VelocityDC

« on: Oct 20, 2011, 12:30 pm »

Damn.....I'm going to miss it by a day. Have fun! Dance shows are a blast!

311

Tools of the Trade / Re: iPads

« on: Oct 08, 2011, 03:11 pm »

Its probably too late, but I figured I'd dump an ipad app recommendation in this thread instead of making a new one.

I'd recommend Room Planner. Its usually $9 but its free right now. You can create any size room and any size objects and drag them around until they fit. Might also be good for that truck pack conversation we were having in another thread

312

Stage Management: Plays & Musicals / Re: Designer Cue Lists

« on: Oct 06, 2011, 04:24 pm »

The lighting designers I've been working with lately don't even give me a cue list. Nor do they give me a channel hook up despite begging for them.

I doubt those are the standard either.

The rest of the lighting paperwork is far more essential to me. If I could only have one piece of paperwork from a designer I'd rather have the channel hookup so I can run a dimmer check before the show. I honestly can't even remember the last time I got a Cue list from a designer.

313

The Green Room / Re: What one item do you think describes our profession?

« on: Sep 30, 2011, 03:32 pm »

Multi tool of course. I'd specifically say a gerber because of the quick open snap/slide action.

314

Students and Novice Stage Managers / Re: Firing Actors

« on: Sep 29, 2011, 01:31 am »

Pardon the insertion of my words in your mouth, good sir. I don't have much experience with people being fired on my productions...I wasn't really aware of the buy out. I thought it had to be two weeks notice though now that I think on that.....it makes so very little sense to not have an escape clause for the Company.

Now quitting productions....that I'm very familiar with! I've had loads of people quit!

315

Students and Novice Stage Managers / Re: Firing Actors

« on: Sep 28, 2011, 10:15 pm »

It's good business to tell people why they are being let go but not necessary. When it comes to HR decisions, some non-AEA companies reserve the right to let you go for no rhyme or reason at the drop of a hat. What this company did is neither right nor wrong...it all depends on how their contracts are worded.

I'd honestly be more shocked if you knew for certain the reasons those two were fired.

As Matthew said, the only real difference between what happened in your situation vs. an Equity situation is parties under AEA must be given two weeks notice of their firing, and must be a "just cause." If there is no such just cause, the terminated party can file a grievance with Equity to pursue monetary damages for wrongful termination. I think that's the only real difference.