Messages

331

Stage Management: Plays & Musicals / Re: FORMS: shows with lots of props

« on: Apr 28, 2011, 12:14 pm »

Hi!

Have you been to the Uploaded Forms section of this website? It has tons of great examples of all the paperwork you mention. Here's a quick link:

http://smnetwork.org/forum/index.php/board,15.0.html

There are sections for Props, Presets, Run Sheets and more. Take a look around see if any of that helps, if it doesn't, you can even make a request for a particular form to be uploaded.

Best of luck!

332

The Hardline / Re: AEA ASM?

« on: Apr 25, 2011, 11:15 pm »

If you go through the entire Stage Manager section of the rulebooks you will most likely find enough other clauses that would indeed warrant Equity taking action on these "phantom" contracts, provided of course that there is somebody brave enough to actually alert the union to what is going on.

Sort-of off topic: Don't be afraid to go to Equity with these issues. I just went to them today with an issue, and we are working together to resolve it. My name is being withheld from the theater in question - so you need not be afraid of retaliation. Though if you are the only SM for that theatre, they may figure it out it was you who blew the whistle, but we must stand up for ourselves. I know some of us who work for the same company for years feel for the theatre and wish to help them out - but you're not helping yourself either, and you're hurting your fellow union members. If you see this happening - speak up! Call your closest AEA office, or if you're afraid, ask a fellow AEA SM to relay the issue for you.

333

Tools of the Trade / Re: An iphone app specifically for SMs!

« on: Apr 23, 2011, 03:37 pm »

For anyone that is interested, it appears that the app has been updated, and now has some options that were covered here (the need for a pause button for the show timer, etc).

I will download this today to give it a shot.

334

Stage Management: Plays & Musicals / Re: SAFETY: Food allergies in rehearsal

« on: Apr 20, 2011, 01:34 pm »

From personal experience - doing Arms and the Man- the script calls for The Man (Bluntschli) to eat from a box of chocolates. My actor was allergic to wheat and chocolate. We ended up ripping up prunes. Of course, with outdoor theater that made an interesting situation with bees, but it looked like bits of chocolate and our actors were very...regular.

It shd never, ever affect casting. But it can make life ... interesting for props and backstage crew.

Quite interesting...

335

Stage Management: Plays & Musicals / Re: SAFETY: Food allergies in rehearsal

« on: Apr 20, 2011, 12:44 pm »

On occasions when I have moderated auditions, some theatres have a   section on the audition form for any information regarding a health   problem that they should be informed of ahead of time. This is a good   thing to have because I have worked a show where several actors had to   eat cake. One of the actors couldn't have gluten, so that effects either   casting or the type of cake bought (also effecting budget)

I personally don't think it's fair to not cast someone based on their allergies/medical information - isn't that illegal? - but it's something good to know once the show is cast. Though I suppose if the script requires a strobe effect and the actor for that scene is epileptic, maybe that would be a consideration.

Is asking for medical history something normal for audition forms? Seems odd to me.

336

The Green Room / Re: Stage managing and relationships

« on: Apr 19, 2011, 06:00 pm »

I second what Matthew said. I actually find it very hard for me to keep friends outside of work/theater. I recently had a friend from college move out to CA, about 1 hour south of where I live. I make a point to see her every few months, but she is a scenic designer, so she's still in theater and not really a civilian.

The only cilivian friends I have are through my husband - and that's the only way I keep up with them - through him. I see them when he sees them. To be friends with the people you work with makes life a bit easier for me, I see my friends at work - so work is a bit more fun - and I get quality time at home with my husband and the dog, and when he's gone, I get my time for me. There really isn't time for anyone else.

337

The Green Room / Re: Stage managing and relationships

« on: Apr 18, 2011, 02:07 am »

I had known my husband for only 6 months before we got married (to the day). While we were dating, he came to a few rehearsals (I was still in college), saw my show and helped (and got injured) at strike. He was really into it, and encouraged me to apply for a SM internship across the country. When I got it, he also got a job in the area, so we got married and moved to California.

In the last 9 years since we moved, it's been difficult at times. After my season internship, I got a job at a ballet company, which was to our advantage. His job is Mon-Fri business hours, and so is mine, (when we're not in tech or performances). That meant only a week here or there when I would be gone all day for 6 days in a row. My husband also travels for work at least once or twice a month, and sometimes he's gone for 2 days up to 2 weeks, so that worked out OK for us. What was hard was Nutcrakcer - so like you did - I made him audition to be a Supernumerary so that we got to spend time in Saturday rehearsals together, as well as during a majority of the performances. But after 5 years of being a Super, my husband quit (it was taking up a lot of time).

Aside from Nutcracker, it got difficult during our summers, as I would go back to "regular" theater, working 6 days a week, long hours for 9 weeks at a time. His work would usually make him travel on Mondays, so my only day to see him would be cut off. Needless to say, my week off between shows became extremely important for us to get to know each other again. Sometimes those 9 weeks - we just felt like roommates who shared a bed.

The absolute worst was when he went back to school to get his Masters. While I had banker's hours during the regular season, he was in school and working 20 hours a week, so he was completely unavailable, even if he was in his home office. Then, when school broke for the summer, I was back at my regular theater gig, and by the time he was ready to go back to school, I was just finishing up. This cycle lasted about 2 years and was the most trying time of our marriage. It does mean that you have to find time somehow for each other to talk, catch up, and learn to not fall distant. Sometimes my husband had to find a way to not work on school for just a day, so that we could spend it together. And you have to find a way to get mentally away from your show and devote your energies to your husband in return.

I'll say, I'm not looking forward to my husband going back for his PhD this fall, and he will be taking classes in the summers, so regardless where I'm working, he won't be available - but we will force ourselves to find time for each other. You can't let a marriage go sour because you're just too tired from work to make your marriage work. As far as I can tell, we have been through rough scheduling times, and we've made out OK. I can't imagine what it would be like to throw a child into the mix, but we'll cross that bridge at some point.

Most important: find the time - make the time (but don't schedule it, that feels like your brain on work mode), talk with each other, spend quality time together at home or someplace peaceful, don't belabour your precious moments by unloading all of your work gripes on your spouse - and remember to kiss each other at least once a day. My husband always kisses me before he leaves for work, even if I'm still asleep, and I do the same for him on weekends.

338

The Hardline / Re: SM Subcommittee forming

« on: Apr 17, 2011, 02:42 am »

Malewen, I think the SF event was a success. Though I did meet with several theaters I already knew/had worked for/will work for this summer, it was a great event to get SM's names out there, meet other SM's and have a great time. I think Heath did a wonderful job pulling this off and I'm really glad to have been able to participate in it.

Though I will say, when it was over, it was the most exhausting hour of my life. My ASM and I had to go get a drink afterward.

339

Tools of the Trade / Re: Fight certification

« on: Apr 16, 2011, 02:22 am »

I have not been certified, but I did make a point to take a stage combat class after a very broadsword-fight heavy production of Henry IV, and since I joined the ballet, I've taken adult beginner ballet. I find that with the shows that I do, it's very helpful in understanding what your fight director or choreographer is setting.

It has helped make my blocking notes for fights clearer, and when I'm at the ballet and I'm writing my entire calling script based off of choreography, it shortens my notes (using the exact term vs. describing what I see in plain English). And, should the "hit by the bus" moment happen, my ASM who is a Dance Major would be able to pick up my ballet script and call the show rather easily.

A little extra education never hurt.

340

Self-Promotion / The Pale King - April 18, 2011

« on: Apr 15, 2011, 12:21 am »

I am really excited about what will be the shortest AEA contract I've ever taken. It's a promotion for a book that is being released tomorrow, April 15 - which is our first rehearsal. The book is called The Pale King, and it was put together by the Agent of the Author, since the Author committed suicide in 2008. Our director, the founder of Word for Word, has selected chapters and has set up the book as a script. We rehearse Friday and Sunday, tech on Monday and do the only performance Monday night. I'm really excited about this, and even though it means I'm working 13 days in a row, I'm OK with that. I'm hooked on the Staged Readings.

If you're in the San Francisco area and want to see it, it'll be at the Herbst Theatre, next to the War Memorial Opera House in SF, Monday April 18th at 8pm. One show only - and we're estimating an hour or less run time. Can't wait!

341

Employment / Re: To Break or Not to Break

« on: Apr 09, 2011, 01:46 am »

I have done this once. I wasn't AEA at the time, but I did break from a LORT company.

I had gone in for an interview to be the ASM at my current ballet company, and I told them I was on contract as a PA/ASM (there wasn't a real ASM on the show) for a LORT company until a certain date. They needed to interview others for the position and would get back to me later. I had signed a contract with the LORT company to act as a PA for 2 shows. I had just finished tech of my first show and was in performances. By the time the show hit closing 3 weeks later, I was offered the ASM job at the ballet.

Once my show closed, and I started prep for the 2nd show of my contract, I spoke with my SM. I explained the better pay, the season long job, and she understood. I then went to my PM and explained it to him - and that the ballet needed me sooner than I'd expected. They needed me by tech of the 2nd show. I was giving him 4 weeks notice, and he completely understood. I stayed on with the show and helped prepare my replacement up until the night before tech. I even offered to be present during the evenings and the weekends of tech, since I only had to be at the ballet during business hours. They said no, that they needed my replacement to be able to do it on her own.

And the next summer, they asked me back. I worked on a rotation with the ballet and the LORT company for 6 years straight. Anyone in our business can understand that better pay, a longer contract, anyone would take that. We all need to survive and, being able to give your employer enough notice, it can be worked out and everyone can part on good terms.

342

Stage Management: Plays & Musicals / Re: Re: TECH: Paper Tech

« on: Apr 06, 2011, 10:31 pm »

From my experience with New Works/Workshop festivals, due to the very limited tech time, the LD hands me (or emails me the night before) a list of all cues, what they do, where they go and I put them into my script as fast as I can before the tech is over.

I've also found that some directors are incredibly specific about their underscoring/scene change music. They get a stack of CDs from the SndD during their initial design meetings before rehearsals start, and it's the SM's job to make note of tracks used, where they go, how long the director wants them to be, etc. I once worked a show where I would send the notes in the report about what SFX we needed, I would get an email of files from the SndD and the next day I would upload the files into Cricket (before I learned the magic of QLab) and would run the show through our in-studio sound system (through my laptop). Granted, this was never as good as the final show cut, but it worked for the director during rehearsal, so that they could be fully prepared before we walked into the theater.

343

The Hardline / Re: Periodic Performance Contract

« on: Apr 06, 2011, 12:27 am »

I do know the actor hourly rates for rehearsal are $10/hr and I am $12/hr.

As far as the performance, my flat rate for the performance is more than what the actors will get paid for the performance. And, after re-reading the email from the director, she did say, "And then on top of that there's the AFTRA fee of $xxx."

Thanks for giving me that snippet from SPT!
Post Merge: Apr 07, 2011, 01:05 amSomething NEW thrown into the mix here.

My director is also a member of AEA. As she is also the one adapting the script, she has now discovered that she has to read some sections of this staged reading. Our Letter of Agreement said we had to employ a minimum of 3 AEA actors and no non-Eq. We do have 3 AEA actors on the show, and they each (will) have AEA contracts. If she becomes a participant in the staged reading, would she need to be under an AEA contract as well? (And thusly pay herself the hourly wage and performance/AFTRA fee?)

I know, I know, call the Business Office to find out for sure - but just wondering if anyone else had this experience/any advice.

344

The Hardline / Re: Periodic Performance Contract

« on: Apr 05, 2011, 11:28 pm »

loebtmc - The director did say they had to pay AFTRA rates, so I get $12/hr for rehearsals and I get a flat rate for the performance - which I guess is equivalent to the AFTRA rate. She said something like "it will play on NPR 3 times, and the AFTRA limit is 4 times," so I assume that is the equivalent of my flat rate for the performance. Though AFTRA doesn't cover SMs...

I don't know a whole lot about AFTRA, though I did consider joining a while back (I dabble in VO work and do PSAs for small companies). And right now, I don't have the free time to read another contract, so I'm going to assume all is kosher with that. I know that's horrible to say...

345

The Hardline / Re: Periodic Performance Contract

« on: Apr 05, 2011, 12:26 pm »

Thanks guys. I'll call them and work it out. I just didn't know if that was completely a no-no.

Heath - funny you should say that. Stephen is actually one of my 3 actors.