Messages

346

Stage Management: Plays & Musicals / Re: Stage managing negative shows . . .

« on: Jan 02, 2014, 11:46 pm »

I have conversations with directors before . . . along the lines "It seems the room is tense, is there anything you would like me to do to help lighten it?"  often, the director will either realize that they are setting a bad tone . . . or I will realize they do give a flying fig, and then go to plan B.

I hate an us versus them mentality, especially during rehearsal . . . but sometimes it's the only way.

347

Stage Management: Plays & Musicals / MORALE: Stage managing negative shows . . .

« on: Jan 01, 2014, 10:43 pm »

So, this has come up in sort of an ongoing conversation with a colleague.  One of the most important things about stage management can be setting a positive, upbeat and professional atmosphere . . . but what happens when your attempts fail – either the are aspects of the production out of your control, or the show was doomed to failure before you start – and the atmosphere turns negative – bad rehearsal environment, heinous tech, bad reviews, or small houses – can lead to a negative buzz about the production.

What I have noticed over my career is how much more difficult is it to stage manage a production that has a “negative” buzz.    Has anyone else noticed some of these things?

1)   Performers will call out sick quicker and let understudies go on more often if there is negative buzz.
2)   In AEA situations, the productions with the negative buzz, seem to be the one where the deputy or the cast is throwing up every rule in your face.
3)   In contracts with the MRE, actors are much more like to MRE out the show.
4)   For longer runs, actors are much more likely to “get out of their contract” anyway possible.
5)   It’s also harder to maintain / note these type of shows.
6)   Actors are much more likely to play those onstage games to keep them some entertained.

Anyone else notice these or other things on these "Negative Shows"?

Edited to add title tag - Maribeth

348

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Running a design meeting

« on: Dec 29, 2013, 01:06 pm »

I think a design meeting like this is akin to a production meeting, but while ideas are still being thrown about - not always the best place for a stage manager to be.

I feel like directors and designers should go through a "out of the box" period where they are allowed to come up with wild, budget breaking, crazy ideas to riff on - and not be reigned in.  Then as they get closer to design deadlines, the reality of the production limitations should kick in.  Given that most of the time a Stage Manager isn't hired until pre-production, often the design process is all but over. 

If you are lucky to be a part of the discussion for the design process, it might be good to have all the data you need for the show the performance space - number of dressing room, line sets, dimensions of the space, inventory of in house stock - and maybe help them get on to solid footing as far as a realistic design is needed.   Having a character/scene break down, location of each scene might be helpful as well.  Also knowing your crew size maybe helpful.

349

Students and Novice Stage Managers / Re: Unpaid Interns, Complicit Colleges

« on: Dec 24, 2013, 05:59 am »

Considering many theatres are catagorized as non profits, are they to be held to the same standards?

Being non-profit or not, you still need to abide by labor laws, which means that most non-profit internships need to fit that same bill.

And all theater jobs should pay minimum wage.  (That's the next step)

350

The Green Room / Re: HAPPY BIRTHDAY PSMKAY

« on: Dec 22, 2013, 12:32 pm »

Indeed, Happy PSMKAY DAY!!!!

351

Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Dec 20, 2013, 08:34 pm »

Looking for Oliver!


Private me.

352

The Hardline / Re: AEA: LORT Volunteering versus volunteering

« on: Dec 19, 2013, 09:37 pm »

VSM - it's the fundamental battle . . .

If something is voluntary . . . that is an actor chooses to do it or not . . . do they have to be paid - and  - an extension of that . . . if they volunteer to do something and it puts them in overtime/meal penalty, does it require the producers to pay overtime.

Time and time again, I have AEA side on the case that Volunteering to participate does  not mean the producers don't have to pay any payment due to them in the contract - an actor can waive anything in the rule book - but time and time again I have producers saying, "well, they volunteered . . .".

In some cases, AEA has stepped in, in some cases AEA has backed down . . . even though they did point out I was correct.

It's frustrating.

(Even more so, when the producers do this all behind the SM's back . . . )

353

The Hardline / AEA: LORT Volunteering versus volunteering

« on: Dec 17, 2013, 05:04 pm »

So, I am faced yet again with the concept of volunteering for a press/publicity event versus not being paid for such an event.

I firmly believe that when a producer asks for volunteers for a marketing event, they are asking for people willing to participate, but the event itself would still be under the billing rules set forth by the AEA contract (in this case LORT). 

How does one deal with producers and gentle point out that if the actors are volunteering it does not release the producers from their requirement for payment.

(In this case, it's an event where the actors are appearing in costume . . . outside of the theater . . . )

354

The Green Room / Re: Your Paranoia/Obsession

« on: Dec 17, 2013, 12:02 pm »

Yeah - to battle the calendar issue - box office, house management and production management all need to sign off on the calendar before I send out . . . . if all four of us mess up, then perhaps that performance was just not meant to be.

355

The Green Room / Re: Your Paranoia/Obsession

« on: Dec 16, 2013, 12:29 am »

For a long time I had to make sure every page of the calling script was there.

(It's what I did between 15 minute call and 5 minute call)

356

The Green Room / Re: ARTICLE: Sleep no more UNPAID interns

« on: Dec 14, 2013, 07:00 pm »

No, unpaid internships have their place, if it is truly an educational experience, and they are able to do their day to day business WITHOUT you.

The reality is, too many internships are abusive.

And $150 a week plus housing, although not a living wage, it is not a bad internship salary.

357

The Green Room / Re: ARTICLE: Sleep no more UNPAID interns

« on: Dec 13, 2013, 01:15 am »

Caroline, those are the people who hired them.  There is no one to complain to other the police or labor board, or go public.  And the trend nationwide, is to go public to shame these companies – weather it be a big magazine company, film companies or theaters – to shame these companies to do what is doing is right, and pay a decent wage.

But here's the thing, in NYC the market is saturated with people who want to be stage managers, but lack the resume credit to get a high paying jobs.

Jobs in NYC are layered.
There are $3,000 a week job on musicals.
$1800-2500 on other Broadway jobs.
A few LORT contracts around 800-1200.
Top Tier Off Broadway around 450-1000.
There are AEA stage managers, those who have extensive regional credit experiences, trying to break into the high paying world of commercial theater who are willing to PA on a commercial show for 150-400 a week (Without benefits, other than perhaps a metro card) for the opportunity to break into the world of of those 1800-3000 a week category jobs.

So, now imagine you are just out of school, 22-25 years old, a young resume without big show credits - desperate to build up your resume - why not take an internship - everyone else around you is doing it.

Then you find out, it's not internship, but really just unpaid labor - you have two options - walk away from the job or suffer. 

Now, if you complain, you run the risk of just being let go (AND BEING LABELED A TROUBLE MAKER).   This town, although very big, is pretty small as far as people knowing each other - someone has a rough day backstage as ASM, people are talking about it drinks that night - people who are four theaters away.  A SM gets laid off, text messages flurry around.  No GM/Producer wants to hire a trouble maker, or someone who rocks the boat - so many, many, many people suffer in terrible positions in the hopes that this was pass and they will find another job.

So people, having no other job offers, take a non-paying job to bide their time as they are applying for 40 other jobs a week.  (In NYC, even when ou have a paying job, you are looking for something better, or something that could lead to better - it's just a simple fact of life of this business.)

You could walk away, but then you can't really list is as job reference.  So, then any and all work you did to build you you resume is for naught.


So, you suffer . . . why?  Because maybe, just maybe, if you stay long enough you might get a paid position.    But chances are there are 12 other non-paid interns also going for that job.   Or this resume credit will look good enough to help you get a paid position . . . someday.

Management loves this, they get people to do work for free instead of pay people - saying they are educating them.  What business wouldn't love this???   And it's the norm in NYC.   (And trust me, I am sure they are learning something - but I have been doing this job for 25 years professionally, and I learn something on every job I do - doesn't mean I shouldn't get paid for what I do.)

See, this is a completely non-union show, the can just make up the rules as they want, but the need to follow the laws.  And, they are trying to use the "intern" label as taking relatively young labor without paying them a living wage.  Mind you, this is a huge hit in NYC, as a downtown theatrical experience, with tickets from 80-130 – with up to nine shows a week.  This is not a non-profit, 40 seat theater.  (Mind you, I don’t feel unpaid internships as allowed anywhere).

So, here’s the thing . . . at the end of the day, theater is a business like any other business, but because of the huge risk, and high costs . . . money is always tight (or going back to the investors in the commercial world).  This is a world we people continue to push forward the notion that people need to suffer for their “Art” – do a show for free.  Everyone needs to work their way up top.  That’s the crazy world of the professional stage management world in NYC.

(And, this is one reason why theater got unionized in the past . . . because of GMS and Producers who took advantage of the workers).

358

The Green Room / ARTICLE: Sleep no more UNPAID interns

« on: Dec 11, 2013, 11:29 am »

I find this VERY disturbing for a hit commercial run show.  (Hit as in sold out, with no marketing . . . and mind, no union employees).

http://www.ibtimes.com/former-sleep-no-more-interns-say-immersive-nyc-megahit-offers-little-educational-benefit-1499418

359

The Hardline / Re: Non-AEA PA pay for tech?

« on: Dec 11, 2013, 11:08 am »

The weekly pay of PA's does not typically have a legal leg to stand on, and although I am sure laws very by states to state, but there are typical labor laws that do stand.

No, regardless of the legality of the weekly versus hourly, PA's don't get the bump usually (although you could always negotiate it).  Interesting, Actors don't get the bump either.  So, you aren't the only ones left out.

360

The Green Room / Re: Housing for National Tours

« on: Dec 10, 2013, 08:45 pm »

Company managers are the indeed are the ones who make these arrangements - and often do in bulk, or in relationships they have made over years (I know one CM who gets a suite comp'ed from him in Chicago due to how many bookings he has done over the years).  I am unsure how to reach out to groups of company managers.