Messages

466

The Hardline / Re: Union Membership

« on: Oct 18, 2006, 01:21 pm »

Hey Derek ~

Get in touch with Amy Dolan at Actors' Equity Association.
Her email address is adolan@actorsequity.org

A huge part of her job is to educate college students about the Union and she has a plethara of info already put together. She would welcome the inquiry.

Best,
Vernon
VSM

467

The Hardline / Re: EMC pay as an ASM

« on: Oct 14, 2006, 01:54 pm »

Balletdork is correct, Equity has nothing to say about the wages, or lack thereof, of anyone enrolled in the EMC program. Those decisions are made by the theatre's representative and the individual in question (so bone up on your negotiation skills - remember there are many things to negotiate with: salary, housing, additional shows, etc...). Once someone is a member of the Union, then they are governed by the rules of the contract that particular theatre is operating under.

So I suggest working as much as you can, for as many different people as you can.
I continue to learn from each show I do, let alone each company!

468

Stage Management: Plays & Musicals / Re: Actor Calls

« on: Oct 09, 2006, 12:46 pm »

I give the "5 minutes" call five minutes before scheduled curtain time.
I call "places" when I get the House.

469

The Hardline / Re: Equity Mourns Patrick Quinn

« on: Sep 28, 2006, 02:56 am »

Patrick will indeed be missed. He was very much the heart and soul of Equity for so long and was just about to take the reins when he was taken from us. The ideas, energies and hopes that he was so eager to share, will be carried on by each and every one of us at AEA. He will continue to encourage, inspire and motivate us all...

470

The Hardline / Re: Light Board Pay

« on: Sep 20, 2006, 01:20 pm »

We are such a great group here!

Marcie ~ contact Susie DeGracia in the Chicago office, explain your rider, concerns and situation and watch her do her magic! This is when the Business Reps can be the most helpful; by explaining and maintaining the terms of the contracts so the Actors and Stage Managers don't have to get personally involved with the Producer about such delicate matters.

471

The Hardline / Re: Handbook

« on: Sep 16, 2006, 01:28 pm »

Thanks Scott, for answering this question.
I have just a little tweak of opinion...

I feel each contract is constructed to meet the specific needs of a certain arena of theatre.
Each rulebook is individually negotiated with a specific group of producers (for the most part; some are simply written by Equity and are concessioned as needed) and therefore each is a bit different from the other. Sometimes Equity is successful in it's proposals for change and sometimes we are not. The variance in rulebook to rulebook is an example of each negotiation.

By all means, go to the Equity website's document library and you can spend literally hundreds of hours reading each individual rulebook. Thanks for your interest in the Union and please check out previous threads in this forum about Equity's Outreach program to the schools.

472

The Hardline / Re: What Colleges (Don't) Say About AEA?

« on: Aug 22, 2006, 10:58 pm »

Sorry it's taken me so long to get back to topic but I left one show and started another and just now heard back from the AEA Representative Amy Dolan. Here is her reply...

Hello All,
As the National Education and Outreach Coordinator, I have been charged
with the tremendous task of getting the word out to students/future members
about AEA.  I use a variety of methods of outreach and am always looking to
incorporate new ideas.  In addition to visiting as many Universities as possible,
I also attend conferences including USITT and several of the regional Kennedy Center American College Theater Festivals.  I make sure to connect with our liaisons  in order to get them involved  if I am in their city but during other times as well.  I maintain the brochures so that we have information readily available and I encourage everyone to contact me if they will be speaking to students, New Members or EMC's so I can provide them with materials and talking points.  I am limited only by time, getting invitations (although I do contact schools myself) and not enough members knowing that I am available to help and that they could help me with introductions to educators across the country.  I aspire to create a strong National team to help the outreach office in it's mission.

So, about the message.  My power point presentation includes the history of
the union, how it works, member responsibilities and a Q and A section.  My
introduction explains that I am not there to recruit them, quite the contrary, I want them to have all the information they can so that when they do get the opportunity to join they can make an educated decision.  I explain that it is a difficult, personal and lasting decision that should not be made lightly. I explore with them all the ways they can inform their decision, whether it be the EMC program, conversations with members, research etc.

I am thrilled that educators and members see the importance of student outreach and we are making a difference.  Thank you so much for your input
and give a call anytime.

All the Best,
Amy Dolan Fletcher

National Education and Outreach Coordinator
Actors' Equity Association
165 W. 46th Street
16th Floor
New York, NY 10036
(212) 869-8530 ext. 42

473

The Hardline / Re: SMA (and AEA) Discussion

« on: Aug 02, 2006, 06:27 pm »

Greetings All ~

VSM here, AEA Stage Manager Council Member and member of the SMA as well. I applaud Scott's latest missive and echo his recommendations to all AEA members to join a committee and effect a change. That's how it's done at Equity. Members join committees, committees effect change. Every opinion is a valid one, even the unpopular ones, for they may be right!

I also find the SMA a rather regional organization at present. I do know however, that we are trying to get more activity and memebership in all the regions of the US. We continue to increase our numbers outside of the greater NY area all the time. Once again, join an organization and effect a change!

I agree with Kris that AEA has so many contracts that at times it proves confusing. But each of those contracts address different issues significant to the individual working environments that they govern. Yet again, committee members effect changes within the actual rulebooks themselves. I am the Chair of the WCLO contract and we just finished our recent negotiations with the WCLO Signatory Producers. They went very smoothly and both sides walked away feeling good about what we had accomplished.

This site is a favorite of mine because we are so very diverse. Newbies fresh out of school and the more seasoned among us all sharing experiences, ideas, trade secrets and tactics. Bravo for SMNetwork!!!

474

The Hardline / Re: What Colleges (Don't) Say About AEA?

« on: Jul 31, 2006, 07:05 pm »

There is a National Staff Representative onboard at Actors' Equity whose job includes educating the future members of the Union. I will get in touch with her and ask her to write a response to the many inquiries and maybe even an update on her schedule here on the west coast. She has already been to many schools nationwide and I know she is always looking for more interested schools. More to follow...

475

The Hardline / Re: AEA

« on: Jul 29, 2006, 05:23 pm »

Welcome youngthespian!

My understanding of the eligibility criteria is that you may elect to join AEA while working under a "contract" in 2 separate productions. The AEA Showcase Code is simply a "code" and not a "contract" and therein lies the rub. This is, please remember, only my opinion and my advice to you is to go to the Equity website
(http://www.actorsequity.org/membership/howtojoin.asp) to find out from them the specifics of joining. Then, call the office in the city nearest you (I assume you are in the NY area) and they will be happy to help guide you.

476

Students and Novice Stage Managers / Re: Calling sound cues

« on: Jul 22, 2006, 12:57 pm »

When I have been involved in sequences that must be timed as an integral part of the scene, I find that we have acheived the best results if we treat the scene as choreography. The Director, Sound Designer, Stage Manager and the Actors all put it together during rehearsal, understanding and acknowledging the importance of maintaining the specific structure and I have had very few problems.

If the actors know to listen to the sound and let it inspire their timing, things seem to work a little easier...

477

Tools of the Trade / Re: how essential is a kit?

« on: Jul 08, 2006, 12:27 pm »

"sticky beak thru the space?"

478

Tools of the Trade / Re: how essential is a kit?

« on: Jul 07, 2006, 01:02 pm »

Better safe than sorry.
Bring your Kit.
Leave it in the car if you want, but have it handy.

479

Tools of the Trade / Re: Favorite Deck Flashlight?

« on: Jul 07, 2006, 02:18 am »

I also prefer the Mini-Mag, as it comes in the sidecar case with my Leatherman, for everyday uses and my Sure-Fire for gridwork.

480

Employment / Re: Websites

« on: Jul 05, 2006, 11:42 am »

Thanks Pat -
It was starting to get cold here in Scotland.
And you know what they say aboot a Scotman's kilt...