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Messages - loebtmc

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436
Thanks for the great suggestions! We added mic tape to the rings, which helped, but I was looking for ideas of a way to tape the ring to his fingers or add a circle or two acting as a barrier or to thicken the rim, so YAY! thanks folks!


437
We have a thin actor who (while dancing up a storm) loses his rings every night. We have taped the rings, but he starts sweating and they start slipping and then go flying. He has come close to nailing fellow actors and our onstage MD. We are worried that he will get an audience members next.

Anyone have any suggestions on ways to keep the darn things on his fingers?

Edit to subject line-Rebbe

438
same thing....I observed on his last few days of touring a month ago before leaving to go to Rebecca - he was delightful as was his team, and I learned some interesting things!

439
Employment / Re: Freelance, Non-AEA - need insurance?
« on: Oct 12, 2012, 09:32 pm »
Honestly, I think it's their responsibility to insure you, not yours. When I work non-AEA (we have this 99-seat animal out here) or when I do convention work, the folks who hire me pay the insurance and are responsible shd anything untoward happen.

440
The Green Room / Re: Reviews
« on: Sep 27, 2012, 08:12 pm »
That's the mention we get - those last few sentences that list the design team and the SM.

441
The Green Room / Re: Reviews
« on: Sep 26, 2012, 07:35 pm »
There are a couple of local reviewers (not the big boys) who always make sure the SM is mentioned in the review. Not reviewed, but on the page. It's kinda fun. Esp as some of the reviewers and I know each other by now, I always thank them.

442
Matthew posted my first thought - because you can fax from your computer. That seems to be a great solution that doesn't cost the theater anything, and allows the person to have a hard copy.

443
I am an AEA monitor, and I see auditioners shoot themselves in the foot all the time by the way they treat the monitors and assistants, and word gets back to the CDs, directors and producers immediately! The worst (or best example) was during the local auditions for the first national tour of WICKED.

It was a huge huge call, but since they were seeing the dancers in big clumps I had asked the CD to have mercy on the long line of nonEqs and had been able to get most of them (future members after all) into the call, at least to be typed in or out after the AEA folks had been seen. Two of the nonEqs, tho, had wandered off before this happened, and were nowhere to be found for a long time. They stuck their heads back in at the very end of the call day, by which time the casting director had cut off seeing any more since they were about to start the agent call and needed a pit stop first.

Despite attempts to calmly sympathize with their predicament and help them look for alternatives, these two kids argued with me vociferously that they had been nearby (they weren't, I had gone hunting for them three times, and my outside voice is amphitheater size). Despite their abusive attitude, I offered to check w the CD's assistant for them, but she also concurred with the CD's cut-off, since he and the MD hadn't had a break.

Then, while the assistant was still watching, the two actors started loudly berating me and threatening me, insisting that their missing this opportunity was my fault, that I was blocking them deliberately for some imagined reason, that this was their big break and they were sure to be cast and I was standing between them and a Broadway job.

The asst took me aside and thanked me, having taken their names (I'd shown her their pic/res when I asked if they could be fit in) and said if they sent headshots to the CD's office while she was there, she'd flag them and make sure they were never not ever hired on her watch because of their attitude and treatment of me. She also kept an eye out as I left, since these two were still actively physically threatening me; this was the only time I didn't feel safe walking to my car after I closed up.



444
Stage Management: Plays & Musicals / Re: Blood Recipe
« on: Sep 20, 2012, 01:59 am »
(thanks - I was at the end of a break and thought I'd get back to it sooner w the link....)

445
Stage Management: Plays & Musicals / Re: Blood Recipe
« on: Sep 19, 2012, 10:22 pm »
There was a huge discussion on this some time ago - try a search, there were a dozen recipes for stage blood posted.

446
Tools of the Trade / Re: stopwatches?
« on: Sep 18, 2012, 08:35 pm »
I just got a cheap on on Amazon that was under $10 - so far it seems to work. They also show up at Big Lots sometimes (and once even at 99cents/dollar store places). Trouble is, I have had the very best silent stopwatch for many, many years, but it needs repair and that costs more than just buying a new one. Sigh.

447
The Green Room / Re: Relief from insomnia
« on: Sep 17, 2012, 12:35 pm »
I used to do a lot of convention work - that meant leaving on Thu nite or Fri morning and flying to someplace in a different time zone, working on their time until Sun nite/Mon morning, then flying home. I found some Chinese herbal remedies that worked (you may need an OMD to build prescription for that), but also Melatonin helped with occasional hyped-up issues.

General wisdom says 1) EXERCISE (but at least 4-5 hrs before you plan to sleep; 2) warm milk; 3) cheese (really - I actually saw this on Dr Oz); 4) sex (yup, really); and 5) meditation practices, such as tensing and releasing each individual part of your body starting with the feet and moving north. Some people say counting sheep helps, but it doesn't work for me.

ALSO do not do stimulating things close to bedtime - these include watching TV, eating, working on the computer, even reading a good book, or drinking anything with caffeine or other stimulants, like black and green teas, Mountain Dew, etc.

And - latest research says naps are a good thing.....

448
frankly, I've never had the choice. There is only one theatre I know of where the 10/12s are split. Otherwise, they have always been back to back for me.

449
(I don't know how you DON'T do 10/12s back to back!)

This play is easy for staggered hours - no one is on stage the whole time. You can potentially be the only one w OT. But I agree, avoid pre-scheduling OT if you can. Just give your producers a heads up (in writing if possible) that says "if we do X then these actors and I will accrue Y hours of OT" and let them say OK.

And depending on your designers, this is not normally a super tech-heavy show, so getting it all done can actually happen.

450
The Hardline / Re: AEA Staged Reading Contract?
« on: Sep 07, 2012, 01:30 pm »
http://actorsequity.org/docs/codes/Stage_Reading_Guidelines.pdf

It's under codes, not agreements, if that helps, cuz it's not a contract

have fun!


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