Messages

451

Stage Management: Plays & Musicals / Re: Maintaining

« on: Dec 26, 2006, 09:13 am »

Since a lot of my work this year has been at a college (where I am brought in as on an AEA Guest Artist contract and professional directors are also hired from the outside), I take a different stance on notes.

I generally call the whole cast an hour before curtain and do group notes.  Unless something is touchy I will give notes out loud in front of the whole group and usually work a tricky scene/ sequence/ song before releasing the cast to get ready.

I do this because the actors are students, and I want them to get used to the idea that SMs do and will give notes and what the scope of those notes can entail.  Doing it in a group setting allows eveyone to see and hear everything and for actors not to feel singled out if I pull them aside evey night.

When SMing professional actors, I do give notes individually (or in a small group if a particular note applies to several actors).

452

SMNetwork Archives / Re: Digging Out in Denver

« on: Dec 26, 2006, 09:02 am »

Sorry about your snow jam, but my holiday travel delays got you a little beat . . .

Try being detained by Israeli security on Christmas Eve.

At least it all turned out well in the end and I did make it home for Christmas.

453

The Hardline / Re: Roth IRAs?

« on: Dec 17, 2006, 11:00 am »

I was told you can't contribute to a Roth IRA directly from your AEA paycheck (like you can with the 401k).  Do you make your deposits separately at the end of the year? 

No they can't take directly out of your paycheck.  But you can pay by check at the end/ beginning of the year.  You can also split it up and pay in several chunks.  There is usually a minimum you can pay at a time and all contributions must not go over your per year total.

454

SMNetwork Archives / Re: Happy Stage Management Memories?

« on: Dec 11, 2006, 12:47 pm »

MusicalSM,

It is great that you can bring your daughter to work.  It is a great way for her to learn how to interact on an adult level and experience an ensemble.

Way to go!  It is great to hear about any parent who can juggle kids and theatre work, let alone a single parent.

455

The Hardline / Re: Roth IRAs?

« on: Dec 10, 2006, 07:20 pm »

These are two separate things:

AEA sets up a pension for you that is paid for by your employer just like the insurance.  This does not really add up to a lot of money and you really should set up a separate plan if you ever hope to retire.

Actors' Federal Credit Union (which you are eligible to join as a member of AEA and is located in the AEA office area) works like any other credit union.  You can set up checking and savings accounts as well as apply for loans and set up any number of IRAs.

To set up an IRA you need to go to the 4th floor and make an appointment to see the financial advisor. 

I have set up a Roth IRA for myself through them.

Roth IRAs have limits on how much you can contribute per year.  If you want to invest more you need to set up a different type of IRA or Money Market account.

456

Stage Management: Plays & Musicals / Re: No Smoking in Denver

« on: Dec 10, 2006, 02:12 pm »

Yup... we have the same problem here in Seattle - no smoking. Period.

I did Seven year Itch a couple months ago, and the script calls for a lot of smoking but we were able to cut out some of it... We couldn't cut all of it, though, since there are some references to smoking in the show. The fake cigarettes looked so tacky and... fake. 

Fake cigarettes . . . not to mention, most actors hate the taste and feel of fake cigarettes and can accidentally inhale that nasty "puff" powder instead of puffing it out.

457

Stage Management: Plays & Musicals / Re: Interesting request for performance reports...

« on: Dec 09, 2006, 06:53 pm »

I also include Announcement timings for the exact reason mentioned in the above post.

I also keep two clocks going during the shows.

One stop watch to run acts timings only.
One stop watch to be the official start/ end timer and time smaller sections if necessary.

458

College and Graduate Studies / Re: Apprenticeships

« on: Dec 07, 2006, 06:49 pm »

Try Goodspeed Musicals.  They have a great apprentice/ intern program.

459

The Hardline / Re: AEA Deputy selection process

« on: Dec 04, 2006, 01:23 pm »

Also, that Deputy Elections Instructions (that we are supposed to read before each election) states: "The Deputy should never have any confrontations with Management. After consulting with the Stage Manager, the Deputy need only communicate with the union to ensure action."  This doesn't always happen, but that's the intent.

Hmm, perhaps it's time I refresh my memory and actually read that d*mn paragraph next time  . . .

Thanks for setting me straight. 

460

The Hardline / Re: Showcase Agreement

« on: Dec 04, 2006, 01:13 pm »

Thanks Ruth!

461

The Hardline / Showcase Agreement

« on: Dec 04, 2006, 12:16 pm »

I am looking for a copy of the AEA Showcase Code Agreement and I cannot find it amoung the other rulebooks on the AEA website.

Does anyone know where I can find a copy?  Or who the showcase rep at AEA is?

Thanks.

462

The Hardline / Re: AEA Deputy selection process

« on: Dec 04, 2006, 11:47 am »

The deputy is responsible for reporting themselves to AEA and with the newly elected deputy's permission, I usually publish it in the report to the staff.

Seesms to me that publishing the identity deputy to the staff goes against the intent behind the deputy and closed elections and that asking a fellow Equity member for permission to do so is not cool.

I believe this is a gray area.  Once the deputy is elected, I do not believe that it is a secret anymore.  The duty of the deputy can involve interacting with the management, therefore is no longer secret.  I would never publish the name without permission, but once the election has passed and the position accepted, it is a matter of public record.  Just like all elections.  The secret ballot is to protect the voters not the candidates.

463

Stage Management: Plays & Musicals / Re: Reports - Getting actors to read them (from Tools of the Trade)

« on: Dec 03, 2006, 11:33 am »

I also am a big fan of the follow-up.  Either in person or via phone or email.  It's all about tact.  I will often do a walk through/ check-in with each department a few times a week.

It is a careful line to tread.

I generally keep copies of ALL communication in my book to use as reference.  But only as a last resort would I "call a person out" on not reading the reports.  If something is a priority, I make it my priority to follow up on it either personally or through the production manager.

To respond to Mac's statement about being loved by all.  I don't need to be loved by all, but I do want an atmosphere of mutual respect.  If the staff doesn't feel trusted it can really screw you come tech time.

We as stage managers must carefully find the gray area between micro-management and a hands-off approach.  We must remember that sometimes the staff can miss a note or skip a report.

I certainly have been in situations where I have had to take a firmer hand with people and demand to see proof that my notes were being addressed but usually with some gentle reminders you can encourage people to be more on task without pissing them off.

464

The Hardline / Re: AEA Deputy selection process

« on: Dec 03, 2006, 10:14 am »

Yes all non-AEA people must leave the room (actors, directors, etc).

According to the rules you read a paragraph explaining the duties and then hold a secret ballot vote.

The deputy is responsible for reporting themselves to AEA and with the newly elected deputy's permission, I usually publish it in the report to the staff.

In most of my experience, the deputy election ends up being less formal.  Usually someone just volunteers.  The conversation gies like this:

Me: Ok, let's elect a deputy.  Do you need me to read the paragraph?

Actors: No.

Actor 1: I was deputy on my last show, so I don't want to be it this time.

Actor 2: I haven't done it in a while, so I can do it.

Me: Does anyone object?

Actors: No.

Me: Ok, actor 2 will be the deputy.  Here is your packet.  Let me know if you have any questions.

This, to me, seems to be standard practice for smaller productions but in larger ensemble pieces you might elect more than one deputy (one for chorus and one for principals).

465

Stage Management: Plays & Musicals / Re: Warm-up/ Games

« on: Dec 01, 2006, 03:23 pm »

I often warm up with the cast.  I love it.

This is a habit I picked up while touring with dance.   I was invited to take company class and when schedule permitted, I would join.  I would often not do the full class and step out before things got too challenging.

And I almost always would do pre-show stretching with the dancers.  My body needed the TLC and it is a great bonding process.

Now that I work a lot at a college most rehearsals involve a group warm up.  I usually do not participate if it is very formal and being lead by the director or involves character work or partnering.  But if it is a freer session, I will definately jump in. 

I also encourage the students to warm up as much as possible.  If the director is busy at the very beginning of rehearsal I will call for a volunteer to warm up the cast while we wait.