Messages

46

Stage Management: Plays & Musicals / Re: RUNNING: No stage manager?

« on: Apr 11, 2011, 08:46 pm »

No. It Will Never Work., one must have a stage manager.

Never is a big word.  We have a couple examples above of how to make it work.  With enough people scurrying around, picking up different parts of the typical SM duties, anything is possible.  I guess it's more a matter of how well it will work.  I tend to think it will work less than very well...

47

Stage Management: Plays & Musicals / Re: TECH: ASMs Role in "Paper" Tech

« on: Apr 07, 2011, 07:24 pm »

SM never gives me anything to do, and so now that we're out of the blocking phase, I've just been sitting there. So one day I went through the script and wrote all the light,sound,fly and any other cues down in order, and asked the director abot any other cues he wanted added or taken away from the script. I'm emailing the sound cue's to our sound guy ( he's the designer, and sound board operator I think.)

Is this at all like a paper tech, or was I just doing my job?

I realize community theaters sometimes have unique ways of doing things, but it sounds to me like you are doing the Stage Manager’s job rather than the ASMs job, and not a paper tech at all.  Typically in professional theaters the designers already have an idea of what Qs are dictated by the script, and if the director has new ideas during rehearsals, the SM will share those in a rehearsal report.  Sometimes the director or SM talks to the designers directly outside of the reports.  I’ve only seen ASMs relaying info to the designers when that task is specifically delegated to them by the SM.   

It sounds like you’re relatively new to stage management, so I would really encourage you to check out some books on the craft (Tom Kelly & Lawrence Stern are a couple authors)   and to read some of the ASM oriented threads on this sight, to get a broader picture of what ASMs generally do throughout the  production.  Its great that you prefer to be busy rather than board in rehearsal; just make sure you talk with your SM about the best way to feel more useful so you are not stepping on toes. 

BUT - and this is key - even when I do a rough pre-tech assignment, I don't tell them where the cues are, nor are pre-number or otherwise set them. I am there as the scribe, to record what they say.

I would add that if there is a Paper Tech without the director present, I try to communicate what the director would like to see or hear if I have specific information about a given moment, then leave it to the designers to figure out how to achieve that end (that's where their artistry comes in).

48

The Hardline / Re: Reports

« on: Apr 04, 2011, 09:52 pm »

I would keep a copy of an accident report or video recording forms or deputy election form, just on the off chance they get lost in the mail.  I let the deputy do their own thing, and have never worked on a contract where I needed to file regular reports.

49

Employment / Re: Taxes for independent contractors...

« on: Mar 25, 2011, 05:11 pm »

When I was geting a significant amount of 1099 income, I paid quarterly to avoid a big hit at the end of the year.  I second the advice about having a tax accountant.  Mine doesn't specialize in contractors, but knows enough to have done fine by me for several years.  When he finished my returns, he would also provide me with the submission dates for my quarterly payments, and an amount to pay based on the previous year's income.   

50

The Hardline / Re: AEA ASM?

« on: Mar 20, 2011, 02:02 pm »

Which means my producer either has to

A. essentially give someone a card- usually someone who is NOT READY

B. hire a working out of town AEA ASM & house them & pay our of town salary

C. hire an AEA ACTOR as my ASM

D.  Stick to shows with 10 or fewer actors

E.  Create enough greater than 10 shows to motivate more AEA SMs to stick around the area permanently, or to warrant the company hiring them for a full season.

The required AEA ASM opens more work opportunities for AEA members, so I support it.  I would also argue that a talented, experienced AEA ASM does bring more value to the production that student PAs.  While there may not be tons of SMs in your area, there are plenty of SMs in general, and theaters pay to house and transport actors all the time.  I don’t think it outrageous at all for producers to budget for stage managers and assistant stage managers in the same way. 

51

Stage Management: Plays & Musicals / Re: RUNNING: How do you decide when to cancel a performance?

« on: Mar 20, 2011, 10:24 am »

I think it only takes one person to make an audience.  In rehearsal actors play to just the director/SM all the time, it is still valid experience on both sides.  We watch movies and TV shows as an audience of one.  Unless your show depends heavily on audience interaction, I can’t see canceling it for low turnout.  You never know who the one or two people who show up are, what connections they may have, or what complicated arrangements they may have made to come to the show, so I would not be comfortable deciding it was not a "good use of anyone's time". 

If the actors and crew are ready and waiting too, I would think they would prefer to do a show rather than have come in for nothing.  I don’t see how it saves anyone money to not perform once they are there and the space is already reserved.  Repeated low turnout is certainly bad for morale., but I don’t think punishing the people who do come to see it is a reasonable solution. 

The only times I as an SM, equity or not, have been part of cancellation discussions has been when we were expecting severe weather, or if we had an actor emergency and no understudy, or there was an issue with physical space that might prevent the performance. 

Can you tell us more about what the benefit was of canceling in your case?

52

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

« on: Mar 17, 2011, 09:49 am »

If we got 50 people to contribute $8 per year, we'd be set.

This is why I like the idea of an annual donation drive; it is such a do-able goal to reach the amount of funding you need, especially broken down like this.  It allows everyone to give what they can. 

53

Employment / Re: Free Lancing Tactics: How Far in Advance

« on: Mar 09, 2011, 10:05 pm »

I would just keep booking and booking, at least to the end of the next season, starting as Heath said, when theaters announce their next year’s shows.  For AEA you want to keep in mind where you are with weeks for health insurance, which may lead to times when a longer run at a lower wage is more valuable than the opposite.  When I feel like my 12-20 weeks are covered, I don’t worry too much about gaps between shows.  They are a nice time to recharge, plus you have the option to take unemployment, temp, or do some other sideline work.  Gaps also leave you open to the possibility of take-overs and other short-term show positions.  As for better jobs that come up for times you are already booked, you can always withdraw from the original if that would be the best business decision (think of it as providing an opportunity to another SM).

Interestingly, when I was non-equity, I felt that it was better not to book as far in advance.  At least in the DC area, it seems like good gigs would come up closer to their start dates.  And the lower the pay, the worse I would feel about backing out since I knew it was hard to find good people for those jobs. 

54

Stage Management: Plays & Musicals / Re: POLICIES: Giving over paperwork mid-run

« on: Mar 01, 2011, 05:26 pm »

I have never been asked to give an actor my book, though I have been asked to give them their blocking.  I agree that copying it for them might be possible, but I would prefer to talk the actor through it and let them make their own notes.  That way they don't have to struggle to understand my notations, they can make notes in their own style on their own blank script, and they can ask questions/get answers all at the same time.

As for the producer asking for paperwork mid-run, perhaps this is something that is usually done at the beginning but was forgotten?  It seems like good practice to have backup copies of vital documents like runsheets, and even the SMs call book.  Maybe they just need reassurance that you leave these items at the theater, in case there is an emergency and you can't make it in.  I think these things do belong to the production rather than the SM, and that it is fair to charge for the cost of printing/copying if they don't have an office at the theater where you can do those things.   

55

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 08, 2011, 06:54 am »

Again, my personal thought on the matter is there are far too many stage managers flood the market, including some pretty bad ones . . . I am just trying to figure out a way to get the bad ones out early, for us, for them, for everyone.

I'd love it if there was a way.  However I tend to think those who most need to get into accounting are also those least likely to listen to their PSMs constructive criticism on the subject.

56

The Green Room / Re: \"Have you thought about accounting . . . ?\"

« on: Feb 07, 2011, 08:08 pm »

Frankly when I’ve been in situations where I think the ASM should change paths, I’ve been too busy controlling the damage to discuss their aspirations, and too frustrated to want to.  I may let the production manager know why the person isn’t a good fit for future shows, and assume their lack of skill will push them out of the field eventually.  I try to work with them to improve their skills, and tailor tasks to their abilities and interests.  I hope to model the positive attitude and work ethic I wish they would demonstrate.  But I agree that some things just can’t be taught.

At the same time, I’ve known stage management types with whom I’ve had really lousy experiences with at one time, and found they’ve vastly improved a few years later.  So who am I to judge?

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Stage Management: Plays & Musicals / Re: PROMPT SCRIPT: Books of the unconventional variety

« on: Feb 07, 2011, 07:54 pm »

Cserendipity, if this is a situation you are in now, can you give us a little more detail on what you’re doing?  I’m not sure I understand what you’re asking.  I have never been an SM backstage where I am calling lights/sound etc, then left my book to execute a scene shift. If I am backstage as an ASM I use a run sheet as nick_tochelli describes, and don’t use the script at all when we hit the stage for Tech. 

I usually just have a STBY & Go for a “DECK #,” but occasionally I’ll call it by a short name for the action if there is some reason to do so (like two different deck moves close together).  What the deck Q# entails would be detailed on the run sheet, and perhaps noted in an unobtrusive place on the script, too.  Sometimes when I’m in the booth I’ll give a warning to my ASM on a particular action, even if it is not for a called cue.  These warnings my function as a reminder for some crucial element that happens backstage.  The funniest unconventional cue I've called was FART.  We had a fart machine with a remote trigger that the ASM hit when called.

58

The Green Room / Re: thoughts on sharing

« on: Feb 06, 2011, 03:28 pm »

Yes, I firmly believe it's the right thing to do, I just am not sure WHY it's the right thing to do.

It’s the right thing to do because theater is a different kind of career.  It isn’t selling insurance.  It isn’t a day job.  It’s a lifestyle as much as a job, and there are things about it that “civilians” just don’t understand.  We are collaborators and supporters, we are a helping profession, and SMNetwork is an extension of that spirit.

I am here as a reasonably seasoned SM because I think there is always more to learn, always room for improvement, and that I can get something from the process of thinking about why I do what I do when I reply to a question.  Having the different perspectives of SMs in schools, community theater, non-AEA, as well as my union siblings in other areas, is provides an invaluable opportunity for growth. 

Being here is also good karma.  I had, and still have, some amazing mentors and peers who have shared with me, and therefore I feel it is only right to share with others in return.  My unique style and personality are not accessible online, and my resume still speaks for itself, so sharing tips and thoughts with others doesn’t translate to fewer job prospects for me.

Finally, I am here because I care about the profile of our profession as a whole, even at a point in my life where I see myself moving into another career soon.  I think having more good SMs out there is better for all SMs everywhere.  Lousy SMs reflect badly on us all. 

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Stage Management: Plays & Musicals / Re: SAFETY: Food allergies in rehearsal

« on: Feb 05, 2011, 12:02 pm »

I tend to agree with Maribeth.  I ask about allergies on a first rehearsal actor info sheet, and would share the info or take precautions as necessary (with the actors’ permission).  I’ve never had an actor with a serious enough food allergy that no one could eat a certain item in rehearsal.  It has been more of an issue of avoiding it for edible props and not offering it to them in their birthday cake!  Perhaps with child actors it makes sense to request serious allergy info before rehearsals start.   

60

Students and Novice Stage Managers / Re: Preset before performance

« on: Feb 04, 2011, 04:47 pm »

I’ve just posted an example preshow checklist in the Presets topic of Uploaded Forms.  If you have any books on SM, they are also good sources of examples of preshow duties.  As others have mentioned, your routine will be based on the needs of the specific show and theater.  My philosophy is that anything that can be done before the show, and checked off, should be; it just leaves less room for error.  Conducting a blackout check to confirming worklights are off, running lights are on, and show lights are then set to the proper cue, is one of the most basic preshow functions, as is checking that crew and cast are at the theater.  I like to note the little things I need to call the show comfortably, such as water and pencils and tissues.  Connecting with the House Manager before the show, if you have one, is another task that’s easy to overlook.  It may be helpful for you to work backwards by putting yourself in the first cue of the show and looking at everything that need to be in place for that to happen smoothly.  I often keep a half-complete preshow list beside me in tech so I can add things to it as I see a need develop.   

If I have a competent and trustworthy ASM, I often only double-check on stage presets that need to be there before House Open, and do a visual check on major items offstage.  I may also have it on my list to ask/remind the ASM to check a certain preset, and I always ask them if their own preshow checklist is complete before I open the house.  If you don’t have a crew or ASM on deck, your preset list is basically the first page of your run sheet.   

I use sheet protectors and a wet-erase marker for my preshow checklist.  Dramachick, the bound sheet protector sounds really useful!