46
The Hardline / Re: Performing arts unions and guilds list
« on: Dec 09, 2008, 01:12 am »
I'll start the list with AEA, AGMA, and SAG . . .
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47
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 08, 2008, 10:49 pm »
American Musical Theatre of San Jose Cancels Productions of 42nd Street, Tarzan and Closes Doors
By Adam Hetrick
01 Dec 2008
The American Musical Theatre of San Jose announced that it has canceled its upcoming productions of Tarzan and 42nd Street and has ceased operation, effective immediately.
Michael Miller, CEO and executive producer of AMTSJ, said in a statement, "We received a telephone call a few days ago from our co-producer for Tarzan, which was the Theater of the Stars in Atlanta, Georgia basically telling us that they had used all of the funds that we had paid them towards the production for other things. In essence, they cancelled the show without giving us any warning, and we discovered that the funds we had paid for Tarzan were spent on another production of theirs, which lost a significant amount of money."
Representatives for AMTSJ state that the company advanced Theater of the Stars roughly a quarter of a million dollars for the planned presentation of Tarzan that was to result in a mini-tour in conjunction with Dallas Summer Musicals.
By Adam Hetrick
01 Dec 2008
The American Musical Theatre of San Jose announced that it has canceled its upcoming productions of Tarzan and 42nd Street and has ceased operation, effective immediately.
Michael Miller, CEO and executive producer of AMTSJ, said in a statement, "We received a telephone call a few days ago from our co-producer for Tarzan, which was the Theater of the Stars in Atlanta, Georgia basically telling us that they had used all of the funds that we had paid them towards the production for other things. In essence, they cancelled the show without giving us any warning, and we discovered that the funds we had paid for Tarzan were spent on another production of theirs, which lost a significant amount of money."
Representatives for AMTSJ state that the company advanced Theater of the Stars roughly a quarter of a million dollars for the planned presentation of Tarzan that was to result in a mini-tour in conjunction with Dallas Summer Musicals.
48
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Dec 08, 2008, 10:45 pm »
Baltimore Opera Co. to file for bankruptcy, cancels remainder of season
By Tim Smith | tim.smith@baltsun.com
9:15 PM EST, December 8, 2008
After 58 years and more than 200 productions, the Baltimore Opera Company will file for Chapter 11 bankruptcy-law protection Tuesday amid dwindling ticket sales and contributions.
The remaining two productions of the 2008-2009 season, Rossini's The Barber of Seville and Gershwin's Porgy and Bess, have been canceled. Ticket-holders will not receive refunds. Singers engaged for next season are being released from their contracts, but the company plans to continue fundraising in an effort to resume productions in the future.
Deborah Goetz, senior director of marketing and communications, confirmed Monday that Baltimore Opera's board of trustees voted Dec. 4 to file for Chapter 11 protection.
"My heart sinks," said soprano Evelyn Lear, now retired and living in Rockville. She starred in three Baltimore Opera productions during the 1970s and 1980s. "The company had high standards, good productions, a good orchestra. I'm distraught that this may mean that opera is finished in Baltimore."
By Tim Smith | tim.smith@baltsun.com
9:15 PM EST, December 8, 2008
After 58 years and more than 200 productions, the Baltimore Opera Company will file for Chapter 11 bankruptcy-law protection Tuesday amid dwindling ticket sales and contributions.
The remaining two productions of the 2008-2009 season, Rossini's The Barber of Seville and Gershwin's Porgy and Bess, have been canceled. Ticket-holders will not receive refunds. Singers engaged for next season are being released from their contracts, but the company plans to continue fundraising in an effort to resume productions in the future.
Deborah Goetz, senior director of marketing and communications, confirmed Monday that Baltimore Opera's board of trustees voted Dec. 4 to file for Chapter 11 protection.
"My heart sinks," said soprano Evelyn Lear, now retired and living in Rockville. She starred in three Baltimore Opera productions during the 1970s and 1980s. "The company had high standards, good productions, a good orchestra. I'm distraught that this may mean that opera is finished in Baltimore."
49
Stage Management: Other / Re: Dance Choreography Notation
« on: Dec 08, 2008, 11:39 am »
Check out this thread:
http://smnetwork.org/forum/index.php/topic,2581.0.html
and don't forget, you can use the search feature on the main page to see if your question has been asked before.
http://smnetwork.org/forum/index.php/topic,2581.0.html
and don't forget, you can use the search feature on the main page to see if your question has been asked before.
50
College and Graduate Studies / Re: Is MA in stage management helpful?
« on: Dec 05, 2008, 11:56 pm »
Coming from someone who went right out into the real world, got a job, and has been working ever since, I don't really see the need for a Master's in Stage Management. It's funny, we were just talking about this in chat a few weeks ago . . .nothing can replace real world experience. My opinion is go out there and start working.
51
Students and Novice Stage Managers / Re: A Sticky Situation
« on: Nov 27, 2008, 04:04 pm »
Well, I think when you come into a production mid way through your only option is to enter and quietly start doing things your way. Oops, the previous SM didn't take down blocking . . .maybe it's time to sit down with the director and get some information, get yourself up to speed, and have a frank talk about how things are going and how you can best help the director. I bet she felt unsupported by the previous SM, and therefore was frustrated.
Nothing, and I do mean nothing, gives a director or anyone else the right to yell. This means you too. We get angry, we get frustrated, but we can't start yelling at people. That wouldn't be acceptable in any industry.
I've taken directors to task on how they treat people, and how they treat me. No director is superhuman or above the laws governing workplace harassment or a company's expectations of professional behavior. It's not your job to be everyone's friend, either. I would have started by enforcing a schedule, getting caught up on blocking, and if I saw this kind of behavior from a director, an actor, a technician, or whomever I would have told them that is inappropriate. Plain and simple.
Sometimes you need to call a break to let the cast run while the director throws their handbag. A note that says "you are doing everything wrong" is vindictive and petty, and I would have handed that back to the director with a very stern look and an explanation if needed.
I just have zero tolerance for this kind of petty junk when I'm a PSM.
Nothing, and I do mean nothing, gives a director or anyone else the right to yell. This means you too. We get angry, we get frustrated, but we can't start yelling at people. That wouldn't be acceptable in any industry.
I've taken directors to task on how they treat people, and how they treat me. No director is superhuman or above the laws governing workplace harassment or a company's expectations of professional behavior. It's not your job to be everyone's friend, either. I would have started by enforcing a schedule, getting caught up on blocking, and if I saw this kind of behavior from a director, an actor, a technician, or whomever I would have told them that is inappropriate. Plain and simple.
Sometimes you need to call a break to let the cast run while the director throws their handbag. A note that says "you are doing everything wrong" is vindictive and petty, and I would have handed that back to the director with a very stern look and an explanation if needed.
I just have zero tolerance for this kind of petty junk when I'm a PSM.
52
Employment / Re: Who toots your horn?
« on: Nov 27, 2008, 12:32 am »
It's the directors that I work with who generally notify me of gigs and are also my references.
53
Stage Management: Plays & Musicals / Re: Fill in the BLANK...
« on: Nov 26, 2008, 03:00 am »
I've only come across it at one particular company. It wasn't awful, just weird.
54
Stage Management: Plays & Musicals / Re: Fill in the BLANK...
« on: Nov 25, 2008, 11:25 am »
Setting up the orchestra pit. That one came out of left field for me
55
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Nov 10, 2008, 11:48 pm »
I agree with Jessie . . if I'm asked for my opinion by a producer, I invite them to rehearsal. If I'm asked for my opinion by a director, it's usually a good sign they know something is wrong and I then ask the question right back to them. They should be able to think their way out of that dilemma.
On the rarest of rare occasions I have given artistic advice to a director who is a dear friend of mine, but I don't think that's the situation of which we speak.
On the rarest of rare occasions I have given artistic advice to a director who is a dear friend of mine, but I don't think that's the situation of which we speak.
56
Stage Management: Plays & Musicals / Re: When the show is going bad
« on: Nov 09, 2008, 08:10 pm »
I think, ultimately, we are there to facilitate the artistic vision of the director. Since not everyone has the same definition of "bad", I don't think it's our place to say something if you think the show is headed in the wrong direction. Ultimately, the artistic director should be checking in to make sure the piece is following the artistic vision of the company. I'm sure some of us have been in a situation where the entire direction of a piece was changed late in the process due to the Artistic Director's requests.
57
The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS
« on: Nov 08, 2008, 01:03 am »
Add to this list the New York City Opera, which is in major financial crisis and just had their top guy leave after 21 months . . . .and The Washington National Opera has postponed it's planned Ring Cycle which was to be staged next year.
58
Tools of the Trade / Re: Road Cases for a kit?
« on: Nov 07, 2008, 01:40 pm »
Hmm, I have to say that I'm finding the amount of stuff you carry around to be, well, perhaps more than you need to. If you are carrying a roadcase around as your kit, I think you need to prioritize your kit and consider scaling back. I know we all want to be prepared for everything, and in a community theater situation you quite frequently end up doing more than your fair share, but a road case is, as you pointed out, a little ridiculous. The company does need to provide it's own supplies, and the financial burden should not fall on you to provide to the extent that it seems you are providing. I know its hard, but try to scale everything back to something like a fishing tackle box (now you can get a really big one . . .). Chances are if it doesn't fit in there, you really don't need to be lugging it around with you.
59
Stage Management: Plays & Musicals / Re: I am out of solutions
« on: Nov 04, 2008, 12:30 pm »
Just to throw in my two cents, I think you are doing the right thing by being as prepared as you can be for what seems to be the eventual outcome. Accepting the inevitable may help you to deal with the situation when it comes about, rather than spending energy trying to stop it from happening, which you actually have no control over. Are there places onstage to hide trash cans? Can you make sure you have them waiting just offstage in addition to mops, etc? If you had an actor that had a stomach flu and had real concerns about throwing up but was going to go on come hell or high water, what would you do?
With that being said . . .if he truly does throw up EVERY time he is onstage, I would consider that a health concern for everyone in your cast and crew, and they all need as much concern as your understudy. I know I'm treading on dangerous ground here, but I'll let you read between the lines and I'll also second Matthew's advice.
With that being said . . .if he truly does throw up EVERY time he is onstage, I would consider that a health concern for everyone in your cast and crew, and they all need as much concern as your understudy. I know I'm treading on dangerous ground here, but I'll let you read between the lines and I'll also second Matthew's advice.
60
Stage Management: Plays & Musicals / Re: Hell Week...?
« on: Oct 25, 2008, 01:03 am »
I have to say that in my own experience I've never heard that term used outside of high school theatre, and I would consider it a mark of someone who is less concerned with diplomacy. We set a tone in our rehearsals, and calling tech "hell", even though it might be, is not helpful or useful.
I worked with a well known actress who, when she wasn't on stage during tech, would sit in the house and cheer on the folks onstage. She was such a team player and even in the most frustrating of pauses while the lighting designer wrote a cue was able to lift the spirits of everyone in the room. She's one of my heros.
I worked with a well known actress who, when she wasn't on stage during tech, would sit in the house and cheer on the folks onstage. She was such a team player and even in the most frustrating of pauses while the lighting designer wrote a cue was able to lift the spirits of everyone in the room. She's one of my heros.