Messages

316

Employment / how long do you wait for a response?

« on: May 11, 2006, 03:11 pm »

Personally, I wonder how hard it would be to email a dear john letter out to everyone who applied and did not make first round, especially since a large number of places are now accepting emailed applications.

Just thought that I'd mention that ironically, after my little rant about not getting any responses that I got one today.

All it said was "Thank you for you interest, but we've offered the position to someone else."

Even though I didn't get the job, it atleast made me feel a little validated knowing that someone took the time to do that. (And I recognize that many people are too busy to do that, I'm just saying that it made a difference to me.)

317

Employment / Re: how long

« on: May 09, 2006, 05:50 pm »

I don't think there is a standard.

I have to admit, that are times I forgot to send out notice I have filled a position to all people who submitted resumes.

Wow! I really think that unfortunately, you're a minority there. For this summer, I have sent out approximately 30 resumes and heard back from 1 person.

I have to say that I find it very frustrating and discouraging. I email, fax and post my applications and about 14 days after, whenever possible, send an email to follow up, but this time around I got nothing in response.

I recognize that there are certainly different circumstances regarding every job out there, but 30 applications and 1 response really makes me question my own abilities.

I wish more people took just a moment for a simple "We thank you for your interest, but have already filled the position." I know it would make me a little less stressed.

And I honestly don't think it has anything to do with my letter. It's literate, well written and was proofed by the literary manager at the theatre I'm currently at. I've used it numerous times and to be honest, never not gotten a job that I wanted until now.

Frustrating.

318

The Hardline / AEA information

« on: Mar 09, 2006, 11:15 pm »

Again, as stated above, I simply cannot afford either the ridiculously high initiation fee (SMs are starving artists in their own right for God sakes!) nor can I even afford to front the $400 down payment or whatever ya call it..........hence, extreme frustration! Can someone just give me an AEA card (PLEASE?) and deduct the fees and stuff from my stipends??!! I've heard this can happen depending on the production company? Or do I need a serious reality check??

If you are offered a contract by a producer of an Equity company, after you sign, Equity will send you the membership paperwork.

When it's been processed, they will then send the producer a letter stating the amount of money that is to be deducted from your paycheck until your $1100 is payed. It's is based on how much money you make. The lowest amount that can be deducted is $25 a week, and only while you are under an Equity contract.

You have 2 years to pay the initation fee once you've joined.

319

SMNetwork Archives / Re: I agree with Heath...

« on: Mar 08, 2006, 02:16 pm »

Don't assume that you have to spike mark everything just because stage managers always spike mark everything. Spiking isn't the goal. Accurate, repeatable performances are the goal - and if your tolerances are wide enough, you might not need spike marks at all.

It's nice to hear this sentiment from another stage manager. Personally, I detest spikes and will do almost anything to avoid using them onstage.

I agree. Especially in a small house like this is.

Unfortunately in this case, spikes are necessary. I've covered spikes in the past with packing tape (or clear hockey tape which actually works better) and I don't know why I didn't think to do it this time.

Part of the problem stems from an inexperienced crew. We've had a number of conversations about "moving with purpose" and counting steps to remember where things should be placed and they just don't. Or can't. I'm not sure which.

We've switched since my last post to a new roll of spike and it seems to be holding up longer than the old.

Thanks for all of the suggestions!

Marcie

320

Stage Management: Plays & Musicals / Gender and Age Issues

« on: Feb 21, 2006, 10:55 pm »

Ah ageism. Sure does exist. I'm a 25 year old SM and on top of being small, only about 5 feet, I also get taken for much younger- usually 17 or 18. (And on a sidenote, if I hear one more time "You'll appreciate it when you're 30"... there will be violence. On the upside, people often tell me that as soon as I begin to speak, they then mistake me for much older than I am, so I guess it balances things out.)

Anyway. I try not to be overbearing or to overcompensate for the fact that I look much younger (and by association, though here we've all proved it's not true- much less experienced) but sometimes people's ignorance just gets to me.

Example: We were about an hour into a very stressfull tech for a very stressfull panto, and the set designer was pitching in for a few last minute details onstage. He was sort of known for his patronizing attitude. A large, heavy prop (the Giant's table) was onstage and I, the ASM, sort of mused outloud to myself "Where should this go"...for the interim was my question as it was about to be used in a few minutes but we needed to sweep. His response was "Well, if you'd bothered to look at my groundplans you'd see it lives over SR." And the fire within me was lit. He didn't know me, he hadn't even bothered to introduce himself to me, who was he to condescend me in that manner- in front of a number of people? My hotheaded response, almost immediately was "Well, if you'd bothered to even look at the space you'd see that that was never going to happen." Because it wasn't. And I was pissed. And you know what, he and I got on amazingly after that. He actually told me before he left how much he respected me for standing up to him and how nice it was to have gotten the opportunity to work with me.

Now I don't advocate mouthing off to any old person, but I felt that I wasn't getting the respect from him that I deserved and I let him know it. Fortunately it worked in my favor. Unfortunately, ageism exists and doesn't seem to be going away any time fast. My advice: work as damn hard as you always do, and the people who need to know will see you for the indespensible person that you are. Sometimes that may not work, but for me it has helped most situation.

Difficult actors are a tough one. I have been able to very passive aggressively knock a few down a few pegs when they deserve it, but I'm told that I am very good at doing without making a big deal about it. What your actor doesn't seem to understand is that whether or not he wants to, he is employed in the same production as you, and he needs to respect you and take direction from you. He doesn't have to like you, doesn't have to be your friend, but he does need to understand that you run rehearsals and when the director isn't there, you give direction and notes. Maybe this is something that you should say to him, or maybe it's something your director should talk with him about, but it seems to me that it needs to be said in some manner.

I actually had a conversation very similar to that with a producer last week on a show I'm SMing and I'll tell you, it was hard for me to say, but it's made all the difference in the world. Our argument was about intermission times and waiting for all of the audience to come back to their seats b/c they don't flash or announce 5 minutes or end of intermission. Basically I was told that if we needed a 30 minute intermission we would have one b/c that's how they've been doing it for 14 years and they weren't about to change for me. I took one of my producers aside and gently explained that 1. It was entirely innapropriate for that to have been said to me, the Stage Manager in front of my actors b/c when I am belittled like that in front of them it says that not only does management not respect me, but it's ok for the actors to do the same, and 2. I'm not trying to march in here and change everything that they are used to, but if my actors wait for every single person to take their time in the lobby and the restroom, when they are ready to begin, then we are no longer serving the play or the actors, but the audience and that's not my job. If I have 5 actors who are ready to start a show on time, then I should have an audience who is ready to finish it on time. And it worked. Things are much better. Whew! (And for the record, each of my 5 actors came up to me appalled that I didn't fight back right then and there. I explained that while I appreciated their support, it was a situation that I allowed to get out of hand and a conversation that I should have ended when it was brought up by the producer).

Anyway, I don't know what advice this offers if any, and I'm sorry to ramble on. I just felt the need to share.

Sharing over.  :wink:

321

SMNetwork Archives / Spike Tape Problems

« on: Feb 20, 2006, 10:01 pm »

The carpet is sort of a generic stuff, nubbly. Kind of like what you'd find in a doctor's office or other public place. Part of the problem is that it's a very stiff rug and I think the spike is being rolled up and scraped up by furniture moving.

I'd like the avoid  making sharpie marks because the remnant is large enough that someone could use in a room or a patio when the show closes (and that offer has been made my the artistic director).

Maybe it's just going to be one of those things.

322

SMNetwork Archives / Spike Tape Problems

« on: Feb 20, 2006, 04:59 pm »

Hey all.

I'm having a problem keeping spike marks on my carpeted set. My ASM and I have tried stapling it through the carpet into the deck but they keep coming up, and it's usually during a scene despite the fact that they are checked daily and maintained nearly as frequently.

My last resort is to draw them on with sharpie, but I'l like to not permanently scar the carpet, it's quite nice and possibly re-useable.

Any suggestions?

Thanks,
Marcie

323

Students and Novice Stage Managers / Re: Need help with writting SM resume

« on: Jan 22, 2006, 02:05 pm »

I am in the process of writting a resume with my SM experience and could really use some pointers.  Please Help.

I'd be glad to email you mine to look at. I spent alot of time formatting it to get the most information on a single page, so it's easier for me to do it that way rather than try to explain.

Private Message me with your email address if you'd like me to send it to you.

Marcie

324

Stage Management: Plays & Musicals / panto slop.

« on: Nov 08, 2005, 12:49 am »

NO SHAVING CREAM!!!

Do NOT even THINK of use shaving cream on stage. It makes the surface slipery, burns when it gets in your eyes, and is basically down right dangerous. Look in your local joke shops. They should have something that will not cause your actors to fall A over T or gauge their eyes out if they get cream in them.

Thank you.

I've been saying this since we found out that they planned on using it in place of soft ice cream and no one seems to be listening to me except for my PSM whose voice is also being ignored, much to our annoyance.

To make matters worse, our scenic artist did a paint test where the shaving cream was (surprisingly) non-corrosive, so now the Director of Design has decided it's not a big deal.

What will happen (as it always does) is that we will use it in tech the first day, things will go horribly wrong and then will switch to instant mashed potatoes like I suggested 2 freaking months ago.

I so love this mentality of "Not my problem." And the nonchalance associated with it that comes from members of the production team at certain times. The idea that they will build/paint/light/prop it and after that task is done it's stage management's problem. Then when we (my SM team) suggest that something may be a problem we're told we're involving ourselves in something that's not our business (when last I checked it's certainly our business to maintain the welfare of all members of the production) and should but out. Then, just as we predicted, things go wrong and then everyone is put out about having to fix a problem they first ignored.

Sorry for the rant, I have been thinking about starting a thread on this for some time now and it all seems to have popped out now. Maybe I will anyway.

And thanks for support on the matter.

325

SMNetwork Archives / kit

« on: Nov 07, 2005, 11:16 pm »

I keep two kits: 1 is a big one with so much crap I won't even start to list it here. The other is a lunch box-sized tabletop kit for rehearsals.

What I do for the tabletop kit is pilfer from the theatre because we are required to have first aid stations (and we have four spread over two buildings) that are stocked by an outside company. Rather then send an actor down the hall for a scrape, I've filled a lunch box with ointments, band-aids, single size asprins, Aleves, immodium, pepto and things like that for easy access. I've also stuck in hand sanitzer, lip balm packets (single serve again from the first aid kits), tampons, safety pins and I can't think of what else.

Look for what the theatre has available for use and use it. That's what it's there for.

326

Stage Management: Plays & Musicals / panto slop.

« on: Nov 05, 2005, 09:04 pm »

I have no help on the slop issue, last year we used bubbles in our machine. This year is shaving cream in place of ice cream and I am absolutely DREADING it.

I'd love to hear about your Panto experiences though!

Marcie

327

Stage Management: Plays & Musicals / COMMUNICATION: Sign Language

« on: Jun 28, 2005, 01:50 am »

I've been studying ASL (American Sign Language) for 3 years or so now, and would one day like to be stage managing for deaf productions/theatres. I know of one specifically in my area and a number of theatres across the country and while I'm not looking at this moment to leave my current position, I will be doing so in the next year, and I'm wondering if anyone has experience with this and would care to share?

Thanks!
marcie