331
Stage Management: Plays & Musicals / Re: Ensemble tracking
« on: Jan 16, 2014, 07:40 pm »
I am just unsure how you color code 45 different people . . .
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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332
Stage Management: Plays & Musicals / Re: Ensemble tracking
« on: Jan 16, 2014, 01:32 pm »
My best bet would be to have a digital version of the script and as lines are assigned . . . denote the line assignment
Attend the tale of Sweeney Todd. [JAKE]
His skin was pale and his eye was odd. [LEWIS]
He shaved the faces of gentlemen [BETTY]
who never thereafter were heard of again. [PHYLLIS]
He trod a path that few have trod [ERIK]
Did Sweeney Todd? [ALL WOMEN]
The Demon Barber of Fleet Street. [FULL COMPANY]
Why isn't the director making these choices?
It will be important to have this tracked with the script for the mixer down the line, so might as well just update the script . . . and deal with new pages. I am unsure why you wouldn't make these changes DIRECTLY onto the script as opposed to another document.
Attend the tale of Sweeney Todd. [JAKE]
His skin was pale and his eye was odd. [LEWIS]
He shaved the faces of gentlemen [BETTY]
who never thereafter were heard of again. [PHYLLIS]
He trod a path that few have trod [ERIK]
Did Sweeney Todd? [ALL WOMEN]
The Demon Barber of Fleet Street. [FULL COMPANY]
Why isn't the director making these choices?
It will be important to have this tracked with the script for the mixer down the line, so might as well just update the script . . . and deal with new pages. I am unsure why you wouldn't make these changes DIRECTLY onto the script as opposed to another document.
333
Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Wedding Proposal on Stage
« on: Jan 16, 2014, 01:28 pm »
I find that as I get older, I am more open to things like this . . .
like when I was younger, I flipped out about a walk role that was auctioned off . . .
but, a show is a living, breathing thing that is alive, and audiences really like the spontaneity of this . . .
If it happened when everyone was about to step off . . . no problem . . . if it was during the choreographed portion of the show . . . no . . .
And I would only do it with the GM/Producers' blessing . . .
like when I was younger, I flipped out about a walk role that was auctioned off . . .
but, a show is a living, breathing thing that is alive, and audiences really like the spontaneity of this . . .
If it happened when everyone was about to step off . . . no problem . . . if it was during the choreographed portion of the show . . . no . . .
And I would only do it with the GM/Producers' blessing . . .
334
The Green Room / SHOWBIZU: Links to SM Video
« on: Jan 16, 2014, 09:21 am »
http://www.youtube.com/watch?v=gHfuX1EThHo
These links have burst onto my facebook feed - thought I would share . . .
These links have burst onto my facebook feed - thought I would share . . .
335
Stage Management: Plays & Musicals / Re: REHEARSALS: Giving line notes
« on: Jan 16, 2014, 09:20 am »Quote
The last reason I like emailing line notes is that I started to notice folks with ruffled feathers when one actor gets half a sheet of paper's worth of notes and another actor gets 4 pages... Generally in a situation like that, the actor with dramatically more notes knows they're struggling more than the rest of the cast and doesn't need a sort of physical, visual reminder of it.
Funny, this is the exact reason I give out paper copies, to subtle remind the actor they are behind in learning their lines . . . if the entire cast is getting a half-page of notes, and you are getting two pages of notes, then you are behind the the curve and you need to catch up - it's subtle, possibly passive-aggressive, but gets the message out.
336
Tools of the Trade / Re: POLL: Paperwork Ownership
« on: Jan 16, 2014, 12:55 am »
okay, I tried a search, but couldn't find if I already did a big posting on this.
some of you know me IRL, so may have heard about this.
Look, a form is a form, and my forms are modification from previous stage managers, and it's involved - and is a summation of input from hundreds of stage managers I have had the pleasure of working with. My call form, is my call form, and if someone likes it enough to steal it. Fine, I really don't care. My prop list form isn't special, it maybe unique to me - but borrow it (I mean how many different ways can you list props . . . I maybe clever how I break them down or deal with numbering, but it works for me . . . if you can take it and make it evolve for you.)
That's about format . . .
WHAT I DON'T LIKE PEOPLE BORROWING IS CONTENT DRIVEN THINGS.
I have an 8 page production list I have put together - it's sort of a stage management check list - every SM has their own form like this - but mine is detailed, and really geared for stepping into a new Regional Theater and figuring out how to quickly assimilate into a new environment. I don't give it out electronically. I print it out, and use it for my check list. It's for me to do my job, and I don't turn in it - it's not required to mount, call or run the show.
I did a show at regional theater, and in a shared SM office space, I saw my check list with the next show's logo on it. Someone from the production staff at this theater took the form out of my dropbox account, customized some stuff (basically change the in-house font and removed my name) . . . it was so obvious my form. I have things and forms I call different things (I don't call it a rehearsal report, I have certain things I put into actors packet) - it even had my stupid misspellings in it - even my pre-production shopping list was copied and handed out.
This is a piece of paperwork that is for me, about me and my process, and to have it taken without being asked, was personally and professionally hurtful.
So, I have become very protective over things now . . . I would rather give out a PDF of my calling script, rather then the word file, so for those who are too lazy to figure out how to duplicate my calling script, the can't just cut and past my formatting. I have seen paperwork form my shows end up being taught in some schools - and I have no idea how that daily call form got there . . . I don't honestly care about the form, but, yeah it would be nice to be credited . . . (For a long time a major regional theater used call form . . . and it still have the 1 pt font in white on a white background of my name on the footer . . . it warmed my heart).
So, format I don't care about . . . content . . . that's something different . . .
I think to answer this, when it's being used to teach - no problem. But when it's being lifted because someone is being lazy, or trying to take the easy way out - or steal my "Knowledge" - then it becomes more of mean spirited thing - and that's what I don't like.
Again, I have had my thoughts changed 180 on this because of one bad apple . . .
No problem, please credit me.
Again, with credit.
Seems like this would be great with credit . . . and possible payment . . . especially if someone is making money off it.
This seems to be a no-brainer . . . if it is a direct lift, I would be pissed . . . if they took the form and made it their own . . . then cool.
Of course, and if they wanted to take the form and have it evolve to the next level or personalize - great.
some of you know me IRL, so may have heard about this.
Look, a form is a form, and my forms are modification from previous stage managers, and it's involved - and is a summation of input from hundreds of stage managers I have had the pleasure of working with. My call form, is my call form, and if someone likes it enough to steal it. Fine, I really don't care. My prop list form isn't special, it maybe unique to me - but borrow it (I mean how many different ways can you list props . . . I maybe clever how I break them down or deal with numbering, but it works for me . . . if you can take it and make it evolve for you.)
That's about format . . .
WHAT I DON'T LIKE PEOPLE BORROWING IS CONTENT DRIVEN THINGS.
I have an 8 page production list I have put together - it's sort of a stage management check list - every SM has their own form like this - but mine is detailed, and really geared for stepping into a new Regional Theater and figuring out how to quickly assimilate into a new environment. I don't give it out electronically. I print it out, and use it for my check list. It's for me to do my job, and I don't turn in it - it's not required to mount, call or run the show.
I did a show at regional theater, and in a shared SM office space, I saw my check list with the next show's logo on it. Someone from the production staff at this theater took the form out of my dropbox account, customized some stuff (basically change the in-house font and removed my name) . . . it was so obvious my form. I have things and forms I call different things (I don't call it a rehearsal report, I have certain things I put into actors packet) - it even had my stupid misspellings in it - even my pre-production shopping list was copied and handed out.
This is a piece of paperwork that is for me, about me and my process, and to have it taken without being asked, was personally and professionally hurtful.
So, I have become very protective over things now . . . I would rather give out a PDF of my calling script, rather then the word file, so for those who are too lazy to figure out how to duplicate my calling script, the can't just cut and past my formatting. I have seen paperwork form my shows end up being taught in some schools - and I have no idea how that daily call form got there . . . I don't honestly care about the form, but, yeah it would be nice to be credited . . . (For a long time a major regional theater used call form . . . and it still have the 1 pt font in white on a white background of my name on the footer . . . it warmed my heart).
So, format I don't care about . . . content . . . that's something different . . .
Quote
I really just fail to see why anyone would really get worked up over this issue. This is how we teach, and how we learn; and especially here at SMNetwork, if we are not here to exchange ideas then I fail to see the purpose of the community entirely. If we punish members for asking for help, what kind of professional community are we?
I think to answer this, when it's being used to teach - no problem. But when it's being lifted because someone is being lazy, or trying to take the easy way out - or steal my "Knowledge" - then it becomes more of mean spirited thing - and that's what I don't like.
Again, I have had my thoughts changed 180 on this because of one bad apple . . .
Quote
A student wanted to use it as part of their research
No problem, please credit me.
Quote
A student wanted to use it as part of an extracurricular school production
Again, with credit.
Quote
A publisher wanted to include it in an anthology or textbook
Seems like this would be great with credit . . . and possible payment . . . especially if someone is making money off it.
Quote
Someone were to repost it here, on another tech website, or in their online portfolio claiming it as their own
This seems to be a no-brainer . . . if it is a direct lift, I would be pissed . . . if they took the form and made it their own . . . then cool.
Quote
A subordinate stage manager/PA/intern wanted to use it within the confines of your current production
Of course, and if they wanted to take the form and have it evolve to the next level or personalize - great.
337
Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Wedding Proposal on Stage
« on: Jan 16, 2014, 12:36 am »
totally would allow it - at the end of curtain call - show is over.
but I am a sap for things like this
but I am a sap for things like this
338
Students and Novice Stage Managers / Re: Not being the calling stage manager
« on: Jan 14, 2014, 12:55 pm »
I am currently working on a show, I will open, but not call the run . . .
You have to assemble the show in such a way to allow the calling SM.
For along time, I often handed off shows mid run to an assistant.
Long running shows, there are multiple show callers.
What sort of specific questions do you have - why? how? how to train?
You have to assemble the show in such a way to allow the calling SM.
For along time, I often handed off shows mid run to an assistant.
Long running shows, there are multiple show callers.
What sort of specific questions do you have - why? how? how to train?
339
Employment / Re: Dear Abby: advice on how to choose between offers
« on: Jan 13, 2014, 12:31 pm »
Choosing between Job A and Job B – and sometimes Job C and Possibility of Job D . . . are challenges that are going to face you, me, and everyone on this list that choose to stay with this career for long enough. I am finding that I am continuing to face this challenge, and know that I will continue to face the challenge – everyone will, especially if you chose to work on the development side of theater . . . where a project you work on may have life beyond the reading, workshop, production you are currently doing.
Some of the major philosophies I have begun to adapt as I enter year three of free of my freelancing career switch (mid-career)
It’s very hard to steer your career
You can put a goal in mind, and you can open yourself up for that goal, but unless you are well off enough to sit around and wait for that perfect opportunity to show up, often you are taking jobs to take jobs. You may have the “Dream Job” in mind, and you may have a path to the “Dream Job” in mind, but it may be difficult to actually find those path jobs in the reality of life. And who knows, the “Dream Job” path you have in mind may not be the right path for you. When I was in grad school, I was dead set in working in Las Vegas – “Spectacle Boy” was my adoring nickname. I spent 3 months over the course of nine-months shadowing on almost every strip show that would take me in – spending time with tigers, magicians, Cirque productions, headliners, etc. It was my “dream job” – and then I got into regional theater, and ended up with a dream job working six years with a great classical theater job. I was working on the greatest texts, with some of the best artists in the country . . . about as far away from Tigers and Circus acts I could get. But on the path, I gained some fantastic experience, and also learned a lot about myself – and WHY I do what I do – and what I want out of my life, as well as my career.
It’s very easy to steer you career
On the flip side, there are ways to steer you career –by being open to opportunities as they present themselves. This means a wide variety of things – be able to travel at a drop of hat, don’t be afraid of relocating, think outside of your comfort zone. Make connections, keep them open and don’t be afraid of using those connections. I find it very odd at this point in my career, I am still afraid of dropping an email to a theater company I have worked with in the past and say, hey, I have an opening in my calendar, do you have anything available? But I can’t tell you how often that has resulted in a job. I also found out by finding out what I really want out of my career – it’s oddly easier to steer. After years of thinking “bigger, better”, and I have reshuffled my goals – now it’s “closer to home” and “work with nice and interesting people”. Funny, by figuring out what I really want out of my career, it has been easier to steer the career in the right direction – and finding those opportunities.
There are very few career making jobs.
Stop thinking that you every career choice is the one that is going to make a break your career. Don’t stress too much about it. It’s just a job, and most of the time, it is probably just for a couple of months. If you don’t get a gig you, or your turn down a gig, and you thought that was going to open up a whole new career path – chances are it will come around again. Shows open, show close – they come and go, just like opportunities. It’s hard, almost impossible to predict where Job A or Job B will lead, we often are trying to guess, well, Job A is great, and filled with connections that could lead to Job C, D and E . . . or Job B is with this great director, and that could lead to Job F, G, and H. Don’t look to far down the line and don’t forget to weigh the jobs just on they stand. Especially earlier in your career, these are choices that are hard to track where they will lead you.
Don’t Ever Forget You are a Business
I think, like we have discussed before, we are often put into positions of taking jobs without proper compensation in hopes for pay off down the line. Be very careful. I was offered the opportunity to work on a new musical off-Broadway that has “future” of transferring – they will say anything to get people to work on a show. And everyone wants their show to transfer. Take the show on the merits of the show, and if you can afford to invest and gamble of a low paycheck now for a possible future payoff, then take the risk . . . but eventually, you can’t pay the bills with a “chance at Broadway”. Work for what your worth. Make smart business decisions, and try to avoid making decisions with you heart.
DON’T LOOK BACK, DON’T SECOND GUESS YOURSELF
I turned down a show that made it to the Broadway – why? It wasn’t the right job for me. Sure, I kick myself a lot about that choice . . . but it’s like hitting on a soft 17 and getting a five – you could have gotten a four. “If I should have, would have, could have . . .”. You don’t know what would have happened - so don’t spend time nor energy in dwelling over the past.
Contracts have out for a reason.
I recently have become very aware of my out on a contract – they are there for a reason. Not that you should make a habit of breaking contracts. Not that you should get known as a show hopper. But there are times when a better opportunity comes along that doesn’t quite line up. I have been in two situations, where I have discussed leaving a contract early with a producer – one had them matching the salary, and offering me another show to get me to stay. The other was quite open to the possibility to get me to stay as long as possible, and was very happy to switch me out after opening – because it would save them on housing. Know when to use this for you advantage. Make Smart Business Decisions.
What’s the right decision for you, may not be the right decision for me.
This is the danger in asking for help with a bunch of strangers. We don’t know you. And would could be the 100% right decision for me, maybe the 100% wrong decision for you. I know this is hard, but try to make friends with a couple of stage managers – one a couple of steps above you on the career ladder, one right on the same rung. Someone you trust not to stab you in the back or take advantage of you. Talk to them, get to know them, have them get to know you – bounce ideas off them, discuss job opportunities with them, throw them jobs you can’t take, they will start throwing jobs back to you. (I have a tight group of four or five stage managers I trust, and I am getting very good at learning who to go to for advice.) Also, learn who you can’t trust. I am socially friends with someone who is a terrible stage manager and has a terrible career . . . I like him as a person, but I think he gives some pretty bad advice. It doesn’t stop me from talking to him – I like to hear advice from a different perspective – and often allows me to look at a situation from a different angle.
I am glad you were able to make a decision – there are probably a lot more coming down the pike.
Some of the major philosophies I have begun to adapt as I enter year three of free of my freelancing career switch (mid-career)
It’s very hard to steer your career
You can put a goal in mind, and you can open yourself up for that goal, but unless you are well off enough to sit around and wait for that perfect opportunity to show up, often you are taking jobs to take jobs. You may have the “Dream Job” in mind, and you may have a path to the “Dream Job” in mind, but it may be difficult to actually find those path jobs in the reality of life. And who knows, the “Dream Job” path you have in mind may not be the right path for you. When I was in grad school, I was dead set in working in Las Vegas – “Spectacle Boy” was my adoring nickname. I spent 3 months over the course of nine-months shadowing on almost every strip show that would take me in – spending time with tigers, magicians, Cirque productions, headliners, etc. It was my “dream job” – and then I got into regional theater, and ended up with a dream job working six years with a great classical theater job. I was working on the greatest texts, with some of the best artists in the country . . . about as far away from Tigers and Circus acts I could get. But on the path, I gained some fantastic experience, and also learned a lot about myself – and WHY I do what I do – and what I want out of my life, as well as my career.
It’s very easy to steer you career
On the flip side, there are ways to steer you career –by being open to opportunities as they present themselves. This means a wide variety of things – be able to travel at a drop of hat, don’t be afraid of relocating, think outside of your comfort zone. Make connections, keep them open and don’t be afraid of using those connections. I find it very odd at this point in my career, I am still afraid of dropping an email to a theater company I have worked with in the past and say, hey, I have an opening in my calendar, do you have anything available? But I can’t tell you how often that has resulted in a job. I also found out by finding out what I really want out of my career – it’s oddly easier to steer. After years of thinking “bigger, better”, and I have reshuffled my goals – now it’s “closer to home” and “work with nice and interesting people”. Funny, by figuring out what I really want out of my career, it has been easier to steer the career in the right direction – and finding those opportunities.
There are very few career making jobs.
Stop thinking that you every career choice is the one that is going to make a break your career. Don’t stress too much about it. It’s just a job, and most of the time, it is probably just for a couple of months. If you don’t get a gig you, or your turn down a gig, and you thought that was going to open up a whole new career path – chances are it will come around again. Shows open, show close – they come and go, just like opportunities. It’s hard, almost impossible to predict where Job A or Job B will lead, we often are trying to guess, well, Job A is great, and filled with connections that could lead to Job C, D and E . . . or Job B is with this great director, and that could lead to Job F, G, and H. Don’t look to far down the line and don’t forget to weigh the jobs just on they stand. Especially earlier in your career, these are choices that are hard to track where they will lead you.
Don’t Ever Forget You are a Business
I think, like we have discussed before, we are often put into positions of taking jobs without proper compensation in hopes for pay off down the line. Be very careful. I was offered the opportunity to work on a new musical off-Broadway that has “future” of transferring – they will say anything to get people to work on a show. And everyone wants their show to transfer. Take the show on the merits of the show, and if you can afford to invest and gamble of a low paycheck now for a possible future payoff, then take the risk . . . but eventually, you can’t pay the bills with a “chance at Broadway”. Work for what your worth. Make smart business decisions, and try to avoid making decisions with you heart.
DON’T LOOK BACK, DON’T SECOND GUESS YOURSELF
I turned down a show that made it to the Broadway – why? It wasn’t the right job for me. Sure, I kick myself a lot about that choice . . . but it’s like hitting on a soft 17 and getting a five – you could have gotten a four. “If I should have, would have, could have . . .”. You don’t know what would have happened - so don’t spend time nor energy in dwelling over the past.
Contracts have out for a reason.
I recently have become very aware of my out on a contract – they are there for a reason. Not that you should make a habit of breaking contracts. Not that you should get known as a show hopper. But there are times when a better opportunity comes along that doesn’t quite line up. I have been in two situations, where I have discussed leaving a contract early with a producer – one had them matching the salary, and offering me another show to get me to stay. The other was quite open to the possibility to get me to stay as long as possible, and was very happy to switch me out after opening – because it would save them on housing. Know when to use this for you advantage. Make Smart Business Decisions.
What’s the right decision for you, may not be the right decision for me.
This is the danger in asking for help with a bunch of strangers. We don’t know you. And would could be the 100% right decision for me, maybe the 100% wrong decision for you. I know this is hard, but try to make friends with a couple of stage managers – one a couple of steps above you on the career ladder, one right on the same rung. Someone you trust not to stab you in the back or take advantage of you. Talk to them, get to know them, have them get to know you – bounce ideas off them, discuss job opportunities with them, throw them jobs you can’t take, they will start throwing jobs back to you. (I have a tight group of four or five stage managers I trust, and I am getting very good at learning who to go to for advice.) Also, learn who you can’t trust. I am socially friends with someone who is a terrible stage manager and has a terrible career . . . I like him as a person, but I think he gives some pretty bad advice. It doesn’t stop me from talking to him – I like to hear advice from a different perspective – and often allows me to look at a situation from a different angle.
I am glad you were able to make a decision – there are probably a lot more coming down the pike.
340
The Hardline / Re: AEA: reading grumble
« on: Jan 07, 2014, 03:25 pm »
No where in the reading rules is there an overtime stipulation . . . other then bumping up to the $100.00 payment for 29 hours, which I could do, but seems odd to ruffle so many feathers for $25.00.
But even if that was the case - 29 hours work for $100.00 is still only 3.45 an hour.
I would love to see all SM contracts to reflect minimum wage at every contract level. It's different for an actor, who may or may not be called for all rehearsal hours, and especially when almost all actors have agents to negotiate a fee, and very few SMs do . . . (For example, the actors ended up only working 12 hours . . . )
But even if that was the case - 29 hours work for $100.00 is still only 3.45 an hour.
I would love to see all SM contracts to reflect minimum wage at every contract level. It's different for an actor, who may or may not be called for all rehearsal hours, and especially when almost all actors have agents to negotiate a fee, and very few SMs do . . . (For example, the actors ended up only working 12 hours . . . )
341
The Hardline / Re: AEA: reading grumble
« on: Jan 06, 2014, 11:58 pm »
yep, under a code - just required a lot more pre-production.
342
Stage Management: Plays & Musicals / Re: PROMPT BOOK: Running Book
« on: Jan 06, 2014, 11:51 am »Quote
Would you happen to have any example paperwork that you'd be willing to send me as a guide?
For a wide variety of reasons, I am hesitant to send out any example of paperwork . . . but I am sure other people might be willing to share . . .
343
The Hardline / Re: Understudies for AEA theatres
« on: Jan 06, 2014, 11:45 am »
I think that many, many, many LORT theaters have negotiated their away around this rule . . . you can get a concession from AEA to not have understudies, and then go back through the specific contract and find out who, where and when the actors need to be notified. I love no understudies . . . until someone goes out ill . . .
344
The Hardline / Re: AEA: reading grumble
« on: Jan 06, 2014, 11:38 am »
"On Contract" Work with health care and pension at least there is a reason there to take lower paying gigs . . .
Developing work with a future life where you you know you are going on with it, even then . . . I seem a point.
Developing work with a future life where you you know you are going on with it, even then . . . I seem a point.
345
The Hardline / AEA: reading grumble
« on: Jan 05, 2014, 11:49 am »
This week, I had the pleasure of working on a reading a new play - 2 days of sitting in the room, relatively easy. I have no future plans on moving on with this show. A very prestigious theater company. A VERY prestigious director.
My pay for about 10 hours of pre-production, and 16 hours of being in the room comes out to $75.00 - no healthcare weeks, no pension weeks . . .
a little less then $3.00 an hour.
Seriously, can't our union put together some sort of minimum wage rule for work.
(It's not like this company doesn't have money, 5 people were flown out from the west coast . . . )
I know the premise of the reading contract, especially one with future life attached is to make an impression on the director or the theater - but it sort of devalues my work when the union allows for such gross underpayment.
My pay for about 10 hours of pre-production, and 16 hours of being in the room comes out to $75.00 - no healthcare weeks, no pension weeks . . .
a little less then $3.00 an hour.
Seriously, can't our union put together some sort of minimum wage rule for work.
(It's not like this company doesn't have money, 5 people were flown out from the west coast . . . )
I know the premise of the reading contract, especially one with future life attached is to make an impression on the director or the theater - but it sort of devalues my work when the union allows for such gross underpayment.