Messages

346

The Hardline / Re: Prompt Script Etiquette

« on: Apr 04, 2011, 11:09 pm »

We   are not quite like designers where we get right of first refusal.  If a   show is transfer among LORT theaters, then there are specific rules   that protect us.

Matthew - sorry to revive this, but you say there are specific rules for a transfer of a show among LORT theaters. I worked on a show listed as a Co-Pro between two Bay Area theaters (I lived about 25 miles from each theater). After our performance closed (my run), the entire cast went to the second theater, but I did not. I had been warned that the other theater had their own SM (but that was AFTER I signed my contract), and that she would come observe me calling the show during my run.

From my theater the PM, LD, and ME all requested a copy of my calling script - and of course, the new SM wanted a copy as well. Since I knew I would at least be giving my script to the new SM, I made an electronic calling script (my first) so it was easy to read, very pristine, etc. Then the other 3 people asked for my script, so I emailed it to them. I don't feel there was anything to protect me in this situation (course I was unaware that I had any), and I never got paid anything additional for the 4 people I sent my script to.

Did I get screwed? Or is this just the normal way these Co-Pro shows go?

347

The Hardline / Periodic Performance Contract

« on: Apr 04, 2011, 10:08 pm »

Hi Everyone,

Did a search on here and didn't find anything about Periodic Performance contracts that relates to my questions, so here they are:

I'm about to do a LOA Periodic Performance contract referencing the Bay Area Theatre Contract. My director (who's acting as the producer) forwarded me the Letter of Agreement/Periodic Performance Approval she got from AEA yesterday. Aside from the items listed on that letter, everything else we do should abide by the contract that is referenced, correct? {Question 1}

[A quick run down of the situation: we have 12 hours of actor rehearsal time, which is spread over 3 days, 4 hours a day, and one of those 3 days is our tech/performance day. We only have 1 performance. This all starts on April 15. The show will be performed like a staged reading; the 3 actors and I are all AEA. We will be recording the audio of the performance (under AFTRA guidelines) as it will be rebroadcast on NPR 3 times (AFTRA limit is 4 times).]

My issue is that she has listed our 1 tech/performance day with a 1 hour meal break (food provided) between the end of rehearsal and half hour. According to the the referenced contract (BAT), the cast can vote by secret ballot whether that meal break is 1 hour, 1.5 hours or 2 hours. (Which means she's either ignoring the vote option or assuming they will vote for 1 hour.) There is a rule 2 paragraphs above the the rule I'm quoting that says the meal break on a TWO performance day can be 1 hour, as long as a meal is provided. Even though she is providing a meal on the tech/performance day,  I still don't think that counts. It's not a 2 performance day.

With all of that in mind, she wants me to announce to the cast the schedule now. I don't want to do that until we settle this issue of the tech/performance day meal break. I assume I can do my Equity Business in the 10 minutes prior to our first rehearsal (day of) and settle the issue then, since the vote must be by secret ballot. That seems like the logical thing to do. If she can't wait and needs it settled now (or in the next few days) - has anyone done a vote prior to the first rehearsal, via email or phone? Granted, the "secret" part is completely shot, but I don't know any other way to get it done early. {Question 2}

Sorry if this is confusing, but it is for me too. I've never worked under a LOA before, and the referenced contract is a bit more lax that the LORT contract I'm used to working under. I appreciate any/all feedback.

Thanks so much!

348

The Green Room / Re: The Stage Manager's Nightmare

« on: Mar 29, 2011, 01:49 pm »

It seems as though I've had several of these dreams listed already, but my worst one is this:

I don't know the show, I can't find my headset, and I need to get to the booth - which is almost an impossible path that involves walking through the house, then onstage, then onto a catwalk and back to the back of the house and through a window. I would get to the booth, there wouldn't be a headset, so I had to retrace my path to get backstage to get a headset, then get back to the booth, all the while, the show is already running.

I seem to have several versions of that one...though I tend to have those during my summer layoffs. Guess I have something to look forward to in June!

349

Self-Promotion / Re: M4M in Central Park

« on: Mar 29, 2011, 04:18 am »

You get to work with Reg Rogers? He's fantastic. Worked with him on Richard III - he was Richard. Hope you have a blast!

350

The Hardline / Re: SUPPORT UNIONS - MARCH W AEA in Los Angeles on March 26

« on: Mar 24, 2011, 10:38 pm »

This is the link to find actions in your area:

http://local.we-r-1.org/

351

The Hardline / Re: AEA ASM?

« on: Mar 24, 2011, 05:54 pm »

According to equity (at least to my understanding), there can only be 1 ASM earning EMC weeks under the AEA SM. So if you do get 2 EMC ASMs, only 1 would be able to gain EMC weeks under you.

I only work AEA during the summers since I work as a PSM at a ballet company during the regular season. Granted, I am married and use my husband's insurance, but I pay my dues as well as my working dues. It doesn't bother me to only work 1 or 2 Equity shows a year.

We do fight hard to have equity assistants when the shows are big, and it is important to have an assistant that knows what they're doing so that you don't have to train them. Though if you are given an untrained AEA actor as your ASM - use your prep week to get them prepared. When I have a SM intern, a lot of my prep time is spent getting them ready for the challenges that lie ahead. Granted, during the rehearsal process they hit road blocks, but you find (or make) the time to help them learn.

If there isn't anyone in your area, then I agree with Scott - the theater needs to post the notice on different websites and build into their budget the room, board and per diem to hire a non-local AEA ASM. And who knows, maybe there is someone near your area that you are not aware of that is equity. 

And, quite frankly, how is getting (1) an EMC ASM, (2) giving an AEA contract to someone who is not ready, or (3) a local AEA Actor any different from each other? To me, all of those seem the same - someone who may not be ready to do the job. If you are considering 2 EMC ASMs, why not give 1 an AEA contract and have the other act as a PA or non-eq ASM? And you/the producer would need to make a judgement call as to who is more ready to get their card.

352

The Green Room / Re: Too big for our breeches: Server update and poll

« on: Mar 17, 2011, 12:44 pm »

"Donate" button has been clicked, and followed through.  Who else is putting their money where their mouth is?

Ditto! Contribution made!

353

The Green Room / Re: Too big for our breeches: Server update and poll

« on: Mar 16, 2011, 11:19 am »

Kay - I don't know how complicated this is, but could you do 2 things? Make the site have the google banner ad for those who don't pay to use the site, and for those that do, we would be ad free? I don't know if that's possible, but it's just an idea. I don't want to see users on the site go down, as Matthew & kmc307 make a good points.

354

Stage Management: Other / Re: Looking for tips on Ice Shows

« on: Mar 16, 2011, 02:22 am »

My previous PSM used to call ice shows for Kristi Yamaguchi. The main thing he did was call spots. He would tell me funny stories about calling the spots, as they are grouped together in teams, giving each team a specific name. The other thing he would do is he would sometimes have to call "pin spot" if any discarded items were to hit the ice, so that the skaters were aware and could adjust to avoid them. This caused him to sometimes have to regroup his spots on the fly, so that everyone who needed coverage had it.

I wish I had more information, but I hope this helps a little bit.

355

The Green Room / Re: Too big for our breeches: Server update and poll

« on: Mar 15, 2011, 08:27 pm »

I would really prefer to subscribe/donate to the site. I love how this site is laid out and I hate seeing ads.

356

Stage Management: Other / How do you care for your dance floor?

« on: Mar 14, 2011, 01:01 am »

For smaller companies, the Stage Management is the team responsible for care and maintenance of dance floors. I have to maintain 5 studios in my company's building, but at the theater we have IATSE crews, so I don't have to maintain the performance floor.

Over my years working for the ballet, one of my previous PSM's used lemon-scented ammonia directly on the dance floor. He poked a few holes in the plastic film and I would drip it on the floor as he used a push broom covered with a towel behind me. This seemed to do well on the floors. After he left, we got an ATD and he took over the mopping/scrubbing of the dance floor. However, once he scrubbed certain studios, areas became so slick, we couldn't use them. (We now have an entire studio set up theater-style [with wings and a crossover] that is no longer used due to the slick spots.)

I was then told that the ammonia was bad for the floors as it dries them out, and that we should only use a warm water wash. The ATD still takes care of the mopping and scrubbing, while I maintain the tape between the seams and the dotting.

What do you do with your floors? How do you clean them, yet keep them from getting slick? If you have panels of dance floor, what kind of tape do you use for the seams, and how do you keep it lasting through weeks of rehearsals?

357

Stage Management: Other / How did you get started SM'ing Dance?

« on: Mar 13, 2011, 05:48 pm »

I've seen a few posts on here about what was your strangest "Other" project, but I want to know is the Why and the How. Why are you stage managing dance? How did you get involved?

Did you seek it out? Did it fall into your lap?

How did get you started in this "Other" form of stage management?

And, if dance is something that you fell into, do you like it more, less, or about the same as your usual stage management form (straight plays, musicals, opera, etc)?


My own response:

Personally, I hated dance in college and never was chosen (thankfully) to call any dance shows. After graduation and moving to the Bay Area, an opportunity presented itself for me to apply as a resident ASM for a ballet company. I figured a season-long gig was better than nothing, so I applied (never telling them I thought dance was dumb) and got the job in 2003. In the middle of my first The Nutcracker I absolutely fell in love with the art. In 2008 I was promoted to resident PSM and I love every minute. I do enjoy going back to Shakespeare and straight plays in the summers, but I don't think I can ever give up the ballet.


What's your story?

358

Stage Management: Other / Greetings from your Moderator!

« on: Mar 13, 2011, 02:12 pm »

Hi Everyone,

I am the moderator for this year on the SM: Other board. I have been stage managing ballet since 2003 and have only had the opportunity to PA one opera back in 2002. I haven't had the chance to SM outside of theater or dance, and I'm very interested in learning more about our other arenas of work.

I am hoping to see lots of great activity on this board in the next few months. I know we are not the "norm" as so many young stage managers are focused on plays and musicals, but stage management in dance, opera, circus, and other exciting areas are important and deserved to be recognized and discussed. I'll do my best to start new topics in here, and I hope you can follow my lead!

Thanks for reading!
BayAreaSM

359

The Hardline / Re: SM Subcommittee forming

« on: Mar 09, 2011, 01:39 pm »

That sounds great, Heath! I'm glad my ASM and I got on the list early. If there is anything I can help with, at least from an electronic/internet help perspective, please let me know! Unfortunately I can't help the day of because we'll be at Load In.

360

Self-Promotion / Re: Next stop: dream job!

« on: Mar 02, 2011, 11:12 pm »

Have fun with Moscone! I highly recommend having a variety of altoids, peach Fresca, hand sanitizer and hand towels in rehearsal. Trust me, the last two are an absolute MUST when working with Jon.