Messages

421

Tools of the Trade / Re: Things that went wrong with your technical equipment?

« on: Jul 07, 2008, 06:35 pm »

Based on Mac's re-direction of this thread, I'll pose a further question.  What do you do when a director (also the artistic director of the company) refuses to acknowledge that the technology used in the show may cause a show stop, flatly refusing to set up a "Plan B" with Stage Management, saying that the show should not stop for any reason, and actually forbidding any discussion of "Plan B" with the cast.

Yes, it's happened to me.

Discuss!

So this is my “proposal” (and I use the term loosely) – from hence forth could the discussion be aimed further towards “What can we do to prevent 'show stopping' issues relating to the increasingly technical aspect of modern theatre?” - basically a “How to I plan for the worst, even though I hope for the best?” discussion.

Edit: adjusted quote to correct code - kmc307

422

Stage Management: Plays & Musicals / PROMPT BOOK: Running Book

« on: Jun 09, 2008, 12:28 am »

OK--the quote below is a snip from another thread, but I thought I'd use it as a jumping off point for a new topic.

Matt, you've mentioned your "running book" (which any member of your staff can write in) several times in your posts.  Please explain the concept for those of us who have never created such an animal and, if you will, explain what takes place at your run book meeting (including at what point in the process this meeting takes place.)  I think it would be illuminating!

Ruth

It's just a mini-ground plan with details.

This is what I use to communicate with Scenic and Lighting designers, and hand out to crew.

I can always hook up a projector and use it to talk through crew heads during run book meeting.


Posted on: June 08, 2008, 04:02:22 PMToast is a CD burning software - great to run off multiple rehearsal cds.

423

Employment / Re: Needing advice taking a job or not

« on: May 27, 2008, 08:38 pm »

You'll come across this situation time and time again during the course of a free-lance career.  Get used to making this kind of decision!

I am a recent college grad who has just moved to NYC.  I have been applying to theaters for stage management internships like crazy, but I have also been applying for crew positions.  I recently got a job offer to run sound board for a show for 1 month.  The pay is only $250 for the month, but it isn't a lot of hours and it seemed like it might be a good way to get my foot in the door.  What worries me though is that I will accept this and then get a call from one of the jobs that I really want to do, or one that pays better. 

Can anyone give me any advice?

424

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 30, 2008, 10:03 am »

Not to re-start or prolong the discussion, but I happened to find these tidbits on AEA's website this morning:

"Today's professional performers must be able to work in every medium: theatre, television, radio, film, the internet and other new media platforms. To protect the wages and working conditions that everyone deserves, members of one union may not undermine another union's efforts to organize professional work opportunities. Simply stated, you may not accept employment in a "sister" union's jurisdiction without the signing the appropriate contract, unless you verify that the second union does not object and confirms that it is not trying to organize or achieve a contract with that particular employer.

Actors' Equity, AFTRA, AGMA, AGVA, SAG and the Italian Actors' Union are all members of the Associated Actors and Artistes of America (4As). This means that we recognize, respect and support each others efforts to organize and negotiate fair and equitable contracts. As a member of one or more of the 4As unions, you are bound by your union's constitution to uphold these provisions

Actors' Equity is currently seeking a contract with the following employers, producers or organizations. Members of AEA and the 4As may NOT ACCEPT EMPLOYMENT until a contract is achieved. If you are contacted about employment, please contact Flora Stamatiades, National Director, Organzing and Special Projects immediately. All calls are confidential."

AND:

"Alert: "Non-Jurisdictional" Fiction, not Fact !

AEA and 4As members should beware of ANY audition notice claiming that a production or project is "non-jurisdictional" or "not in any union's jurisdiction."

It is highly unlikely that such a claim is correct. This terminology is almost exclusively used to avoid a union contract, when one should be in place.

Please contact Flora Stamatiades, National Director, Organzing and Special Projects by phone at 212-869-8530, ext. 419, or by email at flora@actorsequity.org before auditioning for any live project that claims to be "non-jurisdictional" or "not in any union's jurisdiction." All calls are confidential."


http://actorsequity.org/NewsMedia/news2007/Feb14.4As.asp

425

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 16, 2008, 05:18 pm »

From the Booklet  "About Equity" 
pp. 15-16 (link to .pdf is below)

"Equity rules prohibit members from working, with or
without pay, for any employer who is not a signatory
to an Equity agreement or code, unless Equity has
given prior written permission (for example, granted
for performances sponsored by a religious institu-
tion or to fulfill academic requirements).

Working without benefit of contract is so serious
a breach of your professional responsibility that
such behavior will subject you to disciplinary
action. Such non-union work seriously diminishes
Equity’s ability to stimulate professional work
opportunities, undercuts all other agreements,
creates unfair competition, and is ultimately
detrimental to the welfare of all the members.

Therefore, the same principle applies in accepting
non-union work under sister union jurisdictions.

Should you have any questions regarding this very
important rule, immediately contact Equity staff in
the nearest office. "


http://www.actorsequity.org/docs/about/aboutequity_booklet_06.pdf

426

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 16, 2008, 09:23 am »

Mmmm... I have to add my voice to VSM's, I'm afraid.  It has always been my understanding that as an AEA SM, I cannot act in non-SAG films or stage manage non-Union Operas...

Great thread!

I disagree completely with the last two posts...

Let the discussions continue.
Personal styles...

427

Stage Management: Plays & Musicals / Re: Tips and Tricks: Raked stages

« on: Apr 12, 2008, 05:32 pm »

If it's an Equity show, check to make sure the slant of the rank conforms with AEA's regulations covering rakes/inclined playing surfaces for that particular contract.  Also, please note, that some contracts require that the producer provide a qualified health care professional to instruct the cast on how to work on the rake, in order to avoid stress and injury.

428

Employment / Re: Tips and Tricks: Tax deductions

« on: Apr 12, 2008, 08:43 am »

But, seriously, one of the things I've learned over the years is if your income includes a lot of salaried work out of your home state, Unemployment (which you can have Federal tax deducted from, but not State tax,) and Freelance 1099 gigs, PAY ESTIMATED TAXES.  It'll keep you from having to make a very large payment at tax time, and keep the IRS and your home state from charging you a penalty.

If you work out town, and are doing your own taxes, refer to this document for your "per diem" or you "Meals and Incidental Expense" rates.


http://www.gsa.gov/Portal/gsa/ep/home.do?tabId=0

This is part of the new tips and tricks series.  It's mid-April when I'm starting this topic, and the thought of income tax is weighing on the minds of many US-based stage managers.  The performance industries create some unique situations when it comes to paying tax - between freelancing and touring and per diems, we've got a lot to consider.

What have you learned from doing your taxes as a stage management professional?

Thread-wide disclaimer: advice given in this thread is based on personal experience only and should not be taken as professional advice.  Please indicate which country and state you are talking about if you contribute a tip, as laws vary and our membership is global.

429

Employment / Re: Tips and Tricks: Tax deductions

« on: Apr 12, 2008, 08:16 am »

Have a professional do your taxes...

What have you learned from doing your taxes as a stage management professional?

430

Employment / Re: Stepping In

« on: Apr 09, 2008, 12:46 pm »

Replacement PSM

I'm stepping in for the PSM on a show to call the last 2 weeks of the run.
It's at a good theater, so I want to put it on my resume, but I'm unsure how to list my position and am interested to hear how you list it on your resume.

Substitue PSM?
Calling PSM?
Temporary PSM?
Stepping in PSM?  Now that sounds awkward!

Thanks!

431

The Hardline / Re: Distribution Actor Notes

« on: Apr 08, 2008, 08:58 pm »

Which is one reason I haven't posted a Contact Sheet on a Callboard for years.  You never know...

<snip>
  I think we all tend to think the call board for in-house communication only, but you would be surprised who stops by and reads the callboard during the day.

432

Tools of the Trade / Re: Headset Side

« on: Apr 07, 2008, 08:51 am »

I'm left-eared, and always have been!  I don't know where that came from, but it's one of my only SM "quirks" (to quote a different thread.)  I try to be very flexible and not have "quirks" that are unchangeable from performance to performance, or production to production, but this is physical, and it would be very difficult for me to "have to be" right-eared,

Which side do you like to have your headset on?

433

Tools of the Trade / Re: Luminescent Liquid Effect

« on: Apr 04, 2008, 09:02 am »

My high school chemistry teacher used to demonstrate tricks like this for us on a regular basis, in the classroom,

Why don't you do some research by asking someone who specializes in chemicals?

434

The Hardline / Re: Distribution Actor Notes

« on: Mar 31, 2008, 09:07 pm »

Yes, this practice is becoming more and more common.   

I've had actors who love getting notes via e-mail because it gives them plenty of time to digest the notes before the next performance or rehearsal.

And I've had actors who hate the same practice.  They want to do their work at work, get their notes at work, on the clock.  They do not want to spend even one minute opening and reading notes from a director once they are off the clock. They liken it to being phoned at home, after work is done for the day.

What do YOU think?

Discuss!

A lot of directors now e-mail notes - actors get them long before they come into the theatre.

435

Employment / Re: Non-AEA Resume Semantics: Dishonesty or Acceptable?

« on: Mar 29, 2008, 10:01 pm »

Thanks.  It's good to know I'm not alone in my opinions.

FYI, I find one "embellishment" on a resume, and I assume that entire resume is fabricated.

I have a show that I did at a major regional theatre, where I was technically a PA, but I fulfilled the ASM position (the two AEA Stage Managers took turns calling the show, I ran the deck.)  I list is as PA/ASM, which if there is any questions, they can ask.

Putting down non-equity ASM is perfectly acceptable, but putting ASM or SM as a credit at the AEA theatre when you are a non-equity ASM is just confusing . . . and points out something is note right - sending it up red flags.