316
Employment / Re: Theme park work
« on: Feb 01, 2014, 03:30 pm »
I would opt for entertainment . . .
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
Show Posts
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
317
Employment / How far to book ahead?
« on: Jan 28, 2014, 11:17 pm »
So, I continue to adapt to freelancing, I am finding the challenge of how far to book ahead.
Right now . . . I am currently in rehearsal for a show, and have my next two shows lined up . . . the only reason I have booked so far ahead is they completely line up - keeping me employed from Jan 7 to July 10 - and the other projects I have in "development" were free and clear . . .
I am just wondering how far other people tend to book?
Right now . . . I am currently in rehearsal for a show, and have my next two shows lined up . . . the only reason I have booked so far ahead is they completely line up - keeping me employed from Jan 7 to July 10 - and the other projects I have in "development" were free and clear . . .
I am just wondering how far other people tend to book?
318
The Green Room / Front End Stage Managing
« on: Jan 24, 2014, 03:37 pm »
I making a little niche for me professionally. When I was the PSM in DC - I would often take a show up to US being trained, and the stepping off to the next show. It was a cost saving measure . . . but it worked for organization in that putting together the show was much more difficult then the run.
Now, working freelancing, I am finding myself being put into a situation twice in six months where I will rehearse, tech and open a show and then hand it off. The advantage for me, I am allowed to do more projects with directors I like, and not have to be straddled with the long runs (or in some cases unknown extensions) that keep me from taking projects. I am finding PMS/GMS and producers are warming up to the idea, especially when it's the director gunning for me on a project.
It's a different way of working - and the down side, it means I am in rehearsal/tech and previews pretty much all of the time, but it does make the times when I am just running a show - a nice break.
Anyone noticing this trend - or I am forging new territory.
Now, working freelancing, I am finding myself being put into a situation twice in six months where I will rehearse, tech and open a show and then hand it off. The advantage for me, I am allowed to do more projects with directors I like, and not have to be straddled with the long runs (or in some cases unknown extensions) that keep me from taking projects. I am finding PMS/GMS and producers are warming up to the idea, especially when it's the director gunning for me on a project.
It's a different way of working - and the down side, it means I am in rehearsal/tech and previews pretty much all of the time, but it does make the times when I am just running a show - a nice break.
Anyone noticing this trend - or I am forging new territory.
319
The Hardline / Re: AEA: E-Cigarettes
« on: Jan 23, 2014, 07:25 pm »
Again, I too have never heard of AEA rule on this . . . but contact your business rep on your contract - I would think the actor themselves would choose to use it or not . . .
I also think house, local and state rules would also specific the rules.
I have used a wide variety of e-cigs, pipes and cigars - never with an issue raised by AEA.
Where are you located?
I also think house, local and state rules would also specific the rules.
I have used a wide variety of e-cigs, pipes and cigars - never with an issue raised by AEA.
Where are you located?
320
Job Postings / SHAKESPEARE IN THE PARK PRODUCTION INTERNS
« on: Jan 22, 2014, 08:30 pm »
I have worked there in the past . . . fun opportunity . . .
The PUBLIC THEATER/ New York Shakespeare Festival, the nation's foremost theatrical producer of Shakespeare and new work, is seeking full-time summer production interns. Internships are available in lighting, sound, scenery, props, costumes, stage management, production management and general production. Interns will play a crucial role in the theater's activities and gain valuable firsthand experience by taking part in and observing the mounting of Public Theater productions including the 2014 season of Shakespeare in the Park. The level of responsibility entrusted to Public Theater interns requires that they be mature, self-reliant, good communicators, and able to work effectively in a highly collaborative environment. Each candidate will have the opportunity to work alongside the staff of the Public Theater's Production Department in implementing the designs of some of the industry's foremost theatrical designers. The summer season involves long hours mounting immense productions outdoors and offers fantastic resume building potential. Late nights, early mornings and weekends. Flexibility and a sense of humor are a must. We are dedicated to making each internship experience professional and educational. Internships can run between April 1st and September 1st depending on the internship type. Starting and ending dates are flexible; however interns must be available for the bulk of the summer. Conflicts for stage management internships are less flexible and may affect eligibility. Stipend is $25/day and interns are responsible for their own housing. To apply, please email a cover letter, resume, and at least three references to: prodinterns@publictheater.org. Please put "Summer Production Intern" in the subject line and the internship type you are applying for (Scenery, Audio, Lighting, Props, Costumes, Stage Management or General Production). Due to the large amount of submissions, applicants will only be contacted if we wish to schedule an interview. No phone calls, please. The Public Theater is an equal opportunity employer. Employment is based on skills, capability, and experience, without discrimination based on age, race, color, religion, disability, national origin, gender, sexual orientation, veteran or military service member status, marital status, citizenship status, or any other characteristic protected by law.
Employer Profile : PUBLIC THEATER
ABOUT
Founded nearly 60 years ago by Joseph Papp, the Public Theater has become one of the nation's preeminent cultural institutions in which all of the country’s voices, rhythms, and cultures converge. As the only theater in New York that produces Shakespeare, the classics, new and experimental work in equal measure, The Public Theater is dedicated to achieving artistic excellence while developing an American theater that is accessible and relevant. Under the dynamic leadership of Artistic Director Oskar Eustis, and Executive Director Patrick Willingham, The Public Theater is more committed than ever to achieving its artistic goals to realize its ambitions.
E-MAIL
prodinterns@publictheater.org
URL
http://www.publictheater.org
The PUBLIC THEATER/ New York Shakespeare Festival, the nation's foremost theatrical producer of Shakespeare and new work, is seeking full-time summer production interns. Internships are available in lighting, sound, scenery, props, costumes, stage management, production management and general production. Interns will play a crucial role in the theater's activities and gain valuable firsthand experience by taking part in and observing the mounting of Public Theater productions including the 2014 season of Shakespeare in the Park. The level of responsibility entrusted to Public Theater interns requires that they be mature, self-reliant, good communicators, and able to work effectively in a highly collaborative environment. Each candidate will have the opportunity to work alongside the staff of the Public Theater's Production Department in implementing the designs of some of the industry's foremost theatrical designers. The summer season involves long hours mounting immense productions outdoors and offers fantastic resume building potential. Late nights, early mornings and weekends. Flexibility and a sense of humor are a must. We are dedicated to making each internship experience professional and educational. Internships can run between April 1st and September 1st depending on the internship type. Starting and ending dates are flexible; however interns must be available for the bulk of the summer. Conflicts for stage management internships are less flexible and may affect eligibility. Stipend is $25/day and interns are responsible for their own housing. To apply, please email a cover letter, resume, and at least three references to: prodinterns@publictheater.org. Please put "Summer Production Intern" in the subject line and the internship type you are applying for (Scenery, Audio, Lighting, Props, Costumes, Stage Management or General Production). Due to the large amount of submissions, applicants will only be contacted if we wish to schedule an interview. No phone calls, please. The Public Theater is an equal opportunity employer. Employment is based on skills, capability, and experience, without discrimination based on age, race, color, religion, disability, national origin, gender, sexual orientation, veteran or military service member status, marital status, citizenship status, or any other characteristic protected by law.
Employer Profile : PUBLIC THEATER
ABOUT
Founded nearly 60 years ago by Joseph Papp, the Public Theater has become one of the nation's preeminent cultural institutions in which all of the country’s voices, rhythms, and cultures converge. As the only theater in New York that produces Shakespeare, the classics, new and experimental work in equal measure, The Public Theater is dedicated to achieving artistic excellence while developing an American theater that is accessible and relevant. Under the dynamic leadership of Artistic Director Oskar Eustis, and Executive Director Patrick Willingham, The Public Theater is more committed than ever to achieving its artistic goals to realize its ambitions.
prodinterns@publictheater.org
URL
http://www.publictheater.org
321
Introductions / Re: A second chance Hello
« on: Jan 22, 2014, 03:05 pm »
Welcome back . . . we are always learning, always growing, and we all make mistakes . . . welcome back.
322
Employment / Re: Reasons to Reject a Job Offer
« on: Jan 22, 2014, 01:45 pm »
I would argue a job that doesn't pay is not a job . . .
I too have a point system
1) Good People
2) Good Pay
3) Good Project
4) Future Life
5) Calendar (Does this fill in a gap on my calendar)
6) At Home versus travel (this is becoming more and more important)
7) Resume Value . . . this is becoming less and less important, although it does way in
If it doesn't score at least a 4 . . . then, probably pass
I too have a point system
1) Good People
2) Good Pay
3) Good Project
4) Future Life
5) Calendar (Does this fill in a gap on my calendar)
6) At Home versus travel (this is becoming more and more important)
7) Resume Value . . . this is becoming less and less important, although it does way in
If it doesn't score at least a 4 . . . then, probably pass
323
The Green Room / Article: how to get good people to quit
« on: Jan 22, 2014, 01:42 pm »
Good general management article
http://www.ragan.com/Main/Articles/Top_10_ways_to_ensure_your_best_people_will_quit_47779.aspx?fb_action_ids=10100882871106404&fb_action_types=og.likes&fb_source=other_multiline&action_object_map=%5B200555733478621%5D&action_type_map=%5B%22og.likes%22%5D&action_ref_map=%5B%5D
http://www.ragan.com/Main/Articles/Top_10_ways_to_ensure_your_best_people_will_quit_47779.aspx?fb_action_ids=10100882871106404&fb_action_types=og.likes&fb_source=other_multiline&action_object_map=%5B200555733478621%5D&action_type_map=%5B%22og.likes%22%5D&action_ref_map=%5B%5D
324
Tools of the Trade / Re: Excel for rehearsal scheduling or other program?
« on: Jan 21, 2014, 12:57 pm »
The issue always come down to the "human fudge" factor.
Okay, so one person is not available to rehearse a scene - a computer program will look at that and say you can't rehearse that scene . . . but a human will know, oh, we can do the scene without Bob, but we need Sally.
In reality, the human mind is still the best way to schedule . . .
I don't think Excel is the right program . . . but, there are scheduling programs that could set it up - or a programming a data base . . . but the reality of the situation is, by the time you set all the rules, and it's flawless in programming, the show will be closed.
Okay, so one person is not available to rehearse a scene - a computer program will look at that and say you can't rehearse that scene . . . but a human will know, oh, we can do the scene without Bob, but we need Sally.
In reality, the human mind is still the best way to schedule . . .
I don't think Excel is the right program . . . but, there are scheduling programs that could set it up - or a programming a data base . . . but the reality of the situation is, by the time you set all the rules, and it's flawless in programming, the show will be closed.
325
The Green Room / Re: Broadway Opening with Major scenic issue
« on: Jan 21, 2014, 12:24 am »
I did a show with three concentric turn tables.
75% of the time we had some turntable error - made by a major scenery house, major theater company.
automation is fun sometimes.
75% of the time we had some turntable error - made by a major scenery house, major theater company.
automation is fun sometimes.
326
Stage Management: Plays & Musicals / Re: Script Copy
« on: Jan 21, 2014, 12:22 am »
Legally . . . you should buy one copy of the script for each photo copy you make.
Some licensing agreements for production allow the script to be copy for production use.
Some licensing agreements for production allow the script to be copy for production use.
327
Tools of the Trade / Re: POLL: Paperwork Ownership
« on: Jan 18, 2014, 10:26 pm »
Some of these responses have led me to rethink that way I submit stuff . . .
There is nothing to say they own the "digital" versions of my paperwork, just the final out come.
Just like, they don't own any forms I may use to prep the show, or steps I use to create final paperwork.
Maybe I don't turn in digital copies of paperwork, of just turn in PDFS of the form.
Something to think about - for those that want to control their paperwork.
There is nothing to say they own the "digital" versions of my paperwork, just the final out come.
Just like, they don't own any forms I may use to prep the show, or steps I use to create final paperwork.
Maybe I don't turn in digital copies of paperwork, of just turn in PDFS of the form.
Something to think about - for those that want to control their paperwork.
328
The Green Room / Video games - - - - helping people make decisions and multitask
« on: Jan 18, 2014, 06:04 pm »
http://imgur.com/QbyQJ0E
I have been a huge advocate for video games, especially in reference to stage managing . . .
for the reasons specified in the infographic . . . but also building up tolerance in doing things over and over until you get it right - by raising you tolerance for frustration.
And, of course, after a long rough rehearsal, why not shoot some aliens, or take over a pirate ship or slay a dragon . . .
I have been a huge advocate for video games, especially in reference to stage managing . . .
for the reasons specified in the infographic . . . but also building up tolerance in doing things over and over until you get it right - by raising you tolerance for frustration.
And, of course, after a long rough rehearsal, why not shoot some aliens, or take over a pirate ship or slay a dragon . . .
329
Employment / Re: Taking Apprenticeships after working as a Professional SM?
« on: Jan 18, 2014, 01:29 pm »
Again . . . be careful of advice - - - as no one is going to know your skill set, your marketability, etc, etc, or you career goals.
I understand why you are not mentioning the name of the second theater - but oddly, without the piece of advice to weight the name recognition or city of that theater, it's hard to give advice.
Private me if you want my two cents . . .
I understand why you are not mentioning the name of the second theater - but oddly, without the piece of advice to weight the name recognition or city of that theater, it's hard to give advice.
Private me if you want my two cents . . .
330
Tools of the Trade / Re: POLL: Paperwork Ownership
« on: Jan 17, 2014, 06:30 pm »
When I was the PSM - - - there one was only one format we asked visiting stage managers to use, which was the Performance Report.
We had examples of prop list, rehearsal reports, daily call forms, etc . . . but a the end of the day, we felt that an individual stage manager should use the form they were most comfortable with as long as it worked for them. I firmly believe that paperwork is very personal to stage managers and reflects they way they think / break down a show, scheduling, etc . . . and to force them to use a new paperwork just will make them resent you every time the go to use that document.
Now, freelancing, I send the production manager my production report form, my performance report and daily call form for their approval. Then we should department heads the specific form the team is using - prop list, entrance/exit plot, costume paperwork. We work with the director on the character/scene breakdown to make sure we are breaking down the scenes the way they are thinking about the show, and make sure we are putting the right people in the right scenes.
We had examples of prop list, rehearsal reports, daily call forms, etc . . . but a the end of the day, we felt that an individual stage manager should use the form they were most comfortable with as long as it worked for them. I firmly believe that paperwork is very personal to stage managers and reflects they way they think / break down a show, scheduling, etc . . . and to force them to use a new paperwork just will make them resent you every time the go to use that document.
Now, freelancing, I send the production manager my production report form, my performance report and daily call form for their approval. Then we should department heads the specific form the team is using - prop list, entrance/exit plot, costume paperwork. We work with the director on the character/scene breakdown to make sure we are breaking down the scenes the way they are thinking about the show, and make sure we are putting the right people in the right scenes.