Messages

376

The Hardline / Re: Help with DDR

« on: Feb 14, 2009, 11:26 pm »

Matt, can you explain "mutual agreement" in reference to the DDR? 

Also, how much notice is required for the official DDR?

377

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Feb 01, 2009, 12:04 pm »

Rehearsal/Show reports go to Department Heads, and Crew Heads, as well as the usual list of Staff, Creatives etc.  But to the actors?  No.  After all, these reports sometimes have to contain information ABOUT the actors!

Related to this topic (the distribution of rehearsal reports), I know some stage managers who distribute them also to the stagehands/crew.  Additionally, some also send them out to the cast.

I personally do not send them to the crew or the cast because I email them often about other show related business, and I feel it is too much. I prefer to keep the business separate.

Thoughts on doing this?

378

The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: Jan 21, 2009, 08:42 am »

Here are two  links to support this very bad news:

http://www.wsls.com/sls/news/local/article/mill_mountain_theater_closing_to_reorganize_layoffs_begin_wednesday/25423/

http://www.roanoke.com/news/roanoke/wb/191841

Mill Mountain Theatre will be closing its doors this Friday January 23, 2009.  The theatre will complete the run of Driving Miss Daisy with a skeleton staff.  All future auditions and productions are cancelled.

379

The Hardline / Half Hour Call

« on: Jan 19, 2009, 11:24 am »

Here's another "Hardline Hypothetical" for your discussion pleasure:

Under an AEA agreement, under what REHEARSAL circumstances, must you offer your actors a "half hour" call, prior to being called to the stage?

Use examples from life, proof from rule books, and advice given to you by your AEA Business Rep.

Discuss!

(VSM, aren't you happy that I live to populate your Forum?!)

380

Stage Management: Plays & Musicals / Re: Reading a play for the first time

« on: Jan 18, 2009, 09:33 am »

I've never been an avid play reader, but for different reasons.  No, it's not because I break down every play I read as if I were working on it, but because plays (to me) are not written to be read, but are meant to be performed or interpreted by actors.  They were written to be watched, brought to life onstage. And, as I am not a director, I don't picture sets, lights, staging, costumes, actors when I read a play.  It's different with a work of fiction, somehow I can picture everything when I read a good book.  But not with a play. I guess part of me is waiting for a director and designer's visions. 

But, like Matt, when I'm working, I read the play for paperwork in pre-production, and then wait for the read-through to take additional notes and really get a sense of story. (Thanks for feeling so free to admit that, Matt.  It makes it easier for me to get in line there with you!)

As for watching plays, my favorite thing is to go the theatre and NOT notice the SM's work.  I want the play and the production to be so good that I am entirely entranced by the story and the emotions behind it, for two hours or so. My best evenings in the theatre have been those, when I forget for a while that I know all about the backstage workings and am truly an audience member.  After all, that's how I want you to feel when you come to a show I'm working on.  I don't want the audience noticing my work at all!! I want them to be one with the transcendent power of the whole theatrical experience.

381

Tools of the Trade / Re: Protecting your tools

« on: Jan 12, 2009, 07:44 pm »

Please be aware that many homeowner's/renter's insurance policies have a "cap" on insuring jewelry, furs, and yes, computer equipment. Make sure you know what limits you have on your policies.

This site sells inexpensive computer insurance for those with no insurance or too little coverage through their other policies:

safeware.com

Most of the "smaller" stuff, I don't sweat. The only real things of value I have (at this point) I keep on my person (iPhone, leatherman, maglite). Everything that would be "sitting around" is going to be stuff like band-aids, sharpies, etc., all easily replaceable consumables. The exception to this is Joseph (yes, I've named my laptop.) Losing him would be terrible, but that's where homeowners/renter's insurance comes in. In my area at least, $10/mo gets you a $250 deductible with up to $20,000 in event of fire, flood, theft, accidental damage, etc. I keep a good backup of all my files (daily to an external harddrive and offsite servers (google docs is similar to what I use) so I lose 24 hours of work at most, and then simply replace the laptop. A pain, yes - but worst case scenario I'm out $250 instead of $2500. Most of the other "expensive" tools are owned by the theatre and provided, so I don't need to worry about those.
Just my $.02.

EDIT: Linkified the link. -- PSMK

382

Stage Management: Plays & Musicals / Re: Valuables

« on: Jan 12, 2009, 01:17 pm »

Valuables are handed to the actors either as they exit from the bows on the way back to the Dressing Rooms or brought to the Dressing Rooms while the cast is changing.

The point is, that each actor re-accepts responsibility for their own items at this time, and there is no gap in which the valuables are unattended, no matter how safe the theatre or venue might seem.

If something is stolen, your Producer is liable, and though the theatre/venue is most likely insured, they won't be happy.  Neither will the actor with the missing wallet, jewelery, cellphone, or iPod. Making everything right for a person who has been robbed, is a long process.

Change the track. Don't take the risk.

Does this seem like a big deal?  What do you do on your show?

Posted on: January 12, 2009, 07:26:58 AMAn addendum to my posting of this morning:

Returning valuables to the actors, in person, is the Stage Manager's opportunity to touch base with the cast at the end of the show. This person to person contact is when actors can advise you of any notes or questions they might have before leaving the building, or set up a time to meet with you privately about an issue that might be more sensitive.  This is valuable time spent being available to your cast.

The object should never be to get everything done fast in order to get out of the building as early as possible.  The object should be to cover all the bases, human or otherwise, before "punching out." 

383

The Green Room / Re: Trivia Tournament II: Electric Boogaloo

« on: Jan 11, 2009, 05:51 pm »

1.  Get a scrolling mouse.

2.  Never read the entire question.  It takes up too much time.  Look for keywords and phrases, and make your best guess from those.

I just want to know how you guys answer all the questions so fast. I always seem to have the longest time on the scoreboard.   

384

The Hardline / Re: Hardline Meal Break Expansion Thread

« on: Jan 06, 2009, 09:29 pm »

"Actor-lawyer!" Very good.  I am so stealing that phrase!

Nowadays, if I think the lunch might shift a few minutes or if I have an actor-lawyer in the cast, I asterisk the meal break on the schedule announcement with a "Time approximate" note.

385

The Hardline / Hardline Meal Break Expansion Thread

« on: Jan 06, 2009, 08:19 am »

Expanding on the Meal Break thread already in existence, for you AEA SM's, here's a new, hypothetical scenario to bat around:

Your meal break is scheduled for 1:30-2:30pm.  At 1:30pm you are still working and the Director wants to finish the scene, no matter how long it takes.  Some of the actors in the room are due back after lunch and some are not.  Additionally, there are actors not in the current scene (and therefore not in the room) who are also due back at 2:30pm.  So, the Director doesn't stop, and continues until s/he has completed the work, say at about 1:50pm and then calls a one hour lunch break.

Assuming the extra 20 minutes do NOT put the company into any kind of "over five hours" scenario, here are the questions:

Is this illegal, overtime, simply rude, or the Director's prerogative?  If you call it overtime or illegal, show a clause that supports this in the applicable rule book and show a penalty, if any. (If your argument is that the span of day has to be announced 12-24 hours before hand, show an example of a rule book that provides for a penalty, if the announced span of day is changed "on the job.")

If this has ever happened to you, and your cast/Deputy has objected, what did you say/do?

If this has ever happened to you and you have spoken to an AEA Business Rep. about it, what did they say/do/advise?

What do you do, if anything, for the actors due back at 2:30pm, who did not know that the earlier rehearsal session ended late?

What else can you think of (costume fittings, etc.) that might complicate this scenario further?

386

The Hardline / Re: Meal break and scheduling

« on: Jan 05, 2009, 02:01 pm »

In the world(s) I occupy, for the most part, either the Director and I create the schedule together, or the Director creates it on their own, gives it to me, and  I fill in costume fittings and other "extracurriculars." 

Matt, in your world, does the Director tell you what s/he wishes to rehearse the next day, and YOU do the scheduling based on that, or do you and the Director actually create the schedule together?

Oooh...I like this question, and I'm interested to hear answers from both Matt and Ruth!

Regarding the scheduling, I agree that the lunch breaks are scheduled daily/weekly based on the needs of rehearsal. I see a monthly schedule as an overview of when there is rehearsal vs. when there isn't, which is still subject to change (and probably will!).

387

The Hardline / Re: Meal break and scheduling

« on: Jan 04, 2009, 01:48 pm »

Matt, in your world, does the Director tell you what s/he wishes to rehearse the next day, and YOU do the scheduling based on that, or do you and the Director actually create the schedule together?

I don't make the call until the night before, and meal breaks are always flexible based on the needs of the next day.

Planning a month in advance would be impossible in my world.

388

The Hardline / Re: Meal break and scheduling

« on: Jan 04, 2009, 09:42 am »

Meal breaks are generally scheduled on a day-to-day basis, based on the rehearsal needs of the day. However, I have done shows, mostly in NYC, where the Director WILL announce a standard/regular lunch hour so that actors can go to auditions or take care of other business, and schedule all this in advance.

But in my usual work world, the meal break is at a different time every day!

Is there a policy or understanding regarding whether or not meal breaks are pre-scheduled and listed on a rough monthly rehearsal calendar?

Thanks for the help

389

The Hardline / Theatres That Have Closed--Can You Say "Emergency?"

« on: Jan 02, 2009, 09:22 pm »

I am starting a list of theatres or other performing arts organizations that have closed or announced possible closings in the past year.  Please feel free to add any that I have forgotten.

In no particular order:

Buffalo Studio Arena
Theatre de la Jeune
Opera Pacific
Milwaukee Shakespeare
Magic Theatre
American Music Theatre of San Jose
Shakespeare Santa Cruz (recently saved from the brink, but for how long?)
North Shore Music Theatre
Carousel Dinner Theatre

390

The Hardline / Akron's Carousel Dinner Theatre to Close Jan. 4

« on: Jan 02, 2009, 07:37 pm »

http://www.playbill.com/news/article/124833.html

Akron's Carousel Dinner Theatre to Close Jan. 4

By Adam Hetrick
02 Jan 2009

Carousel Dinner Theatre, the Ohio equity theatre in operation since 1973, has announced that it has canceled its 2009 season and will close effective Jan. 4.

CEO and executive producer Joseph E. Palmer, who acquired the Akron theatre in 2003 with David W. Slaght, confirmed to Playbill.com that the theatre would close its doors following the Jan. 3 performance of the 1950's Elvis jukebox musical All Shook Up.

In a statement released on the website for the 35 year-old theatre, Palmer stated, "The economy has materially affected the theatre's attendance and its ability to make cost adjustments to keep pace with the decrease in attendance. The final tipping point became the reversal of certain stakeholders' written or verbal promises that would have had a major impact on the theatre's continuance for the 2009 season and beyond."

Ticket holders who purchased their seats and gift certificates for upcoming shows with a credit card were instructed to contact their credit card companies in order to process any refunds.

The 2009 season was to continue beginning Jan. 7 with Doo Wop: Life Could Be a Dream. Also on the bill were planned productions of My Fair Lady, Buddy: The Buddy Holly Story, The Full Monty, High School Musical, The Producers, Guys and Dolls and It's a Wonderful Life.

Founded in 1973, the Carousel Dinner Theatre began life in a converted Ravenna, OH, supermarket prior to moving to its current Akron location. In addition to members of Actors Equity, the Ohio institution employed members of the American Federation of Musicians and the Society of Directors and Choreographers.

The Carousel Dinner Theatre was also part of the noteworthy plagiarism lawsuit filed by the Broadway creators and collaborators of Urinetown in 2006. The Akron theatre later paid an undisclosed sum to the Broadway creative team for utilizing elements of the original Broadway production that were incorporated into the Akron staging.