Messages

556

Tools of the Trade / Re: SM Kit *for students*

« on: Feb 27, 2013, 08:22 am »

Matthew - I completely understand your philosophy on hiring the person not the tools and 100% agree in the case of pro situations, but what about amateur companies? I'm not sure about in the States, but here SM budgets on amateur productions are sub-zero; we're expected to provide what we need, and then some. Is it better to fight for a policy change and get a cut of the budget, or should we suck it up and provide equipment including some consumables?

Jonas - we are in drastically different worlds - I feel at times if you are doing it for free or little support, then the the producer should be providing MORE, rather then less.  (Really the only time I am schlepping in my stuff is for a one-off, or for a "for fee" type event, and it's cheaper to use my stuff, then go buy stuff). 

But ultimately, it's about it's what you feel comfortable with and if it makes your job easier.  We have the same issue here for amateur theater.  To be honest, I am trying to lead a small rebellion about stage management and low paying jobs - so I am probably not the best person to ask about - I am wishing for better working conditions for stage managers across the board.  And truly wish that supplies were provided for you everyone.

But as a student, these are the things I wish I had had in my "kit", this list maybe long - take a look at previos posts as well

1) Nice case
2) Pencils
3) Sharpener
4) Erasers
5) Nice Pen
6) basic first aid, but no drugs (laws about handing out drugs are complicated, make sure you theater actually has a first aid kit for use)
7) Sharpies
China Marker
9) Three Hole Punch
10) Scale Ruler
11) Straight Edge
12) Tape (All kinds)
13) Three Hold Punch reinforcements
14) Label Maker plus tape
15) Laminater and Supplies
16) Paper Cuter
17) Scissors
18) Paper clips and staples
19) Clipboard
20) Post It, Post It Flags
21) Good, but inexpensive stopwatches (2 or three) - don't buy one you are going to mourn if it gets lost
22) Backup power cords
23) USB Extension Cable
24) Extension Cord
25) Surge Protection
26) Cube Tap
27) Binder Clips
28) Corkscrew
29) A couple of forks and spoons
30) Septic Pencil
31) Basic Sewing Supplies
32) Razor
33) Un-lubed condoms
34) Batteries

557

Stage Management: Plays & Musicals / Re: SCENERY: Sand Onstage

« on: Feb 27, 2013, 01:39 am »

I did a show with red sand (I've also done two shows with red clay in-field dirt - don't ask).

The sand will get everywhere - you will find it for years in your theater.  It will track home on the crew, the cast.  It's impossible to control.

Load in will be hard - load out will take forever (we eventually had to hire a company that cleans up after sandblasting.)  Safety eyewear and respirators were key.

How to maintain it will depend what you want the look to be.  We wanted a flat surface until people walked on it - so we came up with large squeegees on sticks.

We got playground sand (dyed red - it oddly comes in lots of colors).  It was fine.

One of the big things we had to deal with - although the show was only like 67 minutes, was fatigue during tech - standing and walking on sand takes a lot out of you.  We ended up taking more breaks, and longer breaks (10 minutes every 50 minutes). 

Again, sand got everywhere.

(I remember four years later, replace a piece of the stage to find three inches of sand in a hole.)

And . . . dyed sand transfers dye.  Everyone had pink stuff by the end of the run - blacks can end up with a pink tint.

558

Tools of the Trade / Re: SM Kit *for students*

« on: Feb 26, 2013, 07:39 pm »

I have stuff I use for one-offs or events, but in reality - it's my lap top, my metal scale rule and a stopwatch.  (Now, sometimes I will bring my lamination machine or cool paper cutter in - but that's for my style flourishes). 

When a company hires me - they hire me - if they want to rent my toys, that will cost them more.

559

Students and Novice Stage Managers / Re: Is It Even Worth It?? (Conflict resolution)

« on: Feb 26, 2013, 11:17 am »

Update: today is the day I find out how the fates knoted my life.

Regardless of the outcome, it's just a show . . . just a gig . . . there will always be another one.  They arelike buses, or fish in the sea.

I have spent too much time in my career worried about getting the "dream" gig, the "perfect" show, or what I think is the one I have to have next to make my career . . . in reality this career is not linear, not planned, nor never perfect.

I hope the outcome is what is best for you.

560

Students and Novice Stage Managers / Re: Help & advice needed -- Urgent (Please read!)

« on: Feb 25, 2013, 11:16 pm »

I don't quite understand how you know now your interest (and I assume passion) is in a theatrical career when you have no experience.

Learning stage management by a book is like learning how to kayak by a book - sure you will "learn the basics", but at the end you sort of need to be in the water.


I would strongly suggest adding a minor at this point, get your feet wet, and move forward on your other degree.  You have changed you mind once, you may find that theater is a passion and love, but perhaps not the best career choice.  (I know a lot of people who love theater, have a calling to be a stage manager, yet, struggle for years trying to make it a career.)  See if you can find a summer internship at a summer theater - doing ANYTHING - and get to know the whole world of production.  You may make zero money, but you will learn what about the theater really excites you.

Contact someone at KCRep and ask if you can do an observation of a show being run or called or teched - and start absorbing the process - who does what when.    (This is from their web page . . . )

Arts Management Volunteer Opportunities are designed for college-age candidates who intend to make arts administration their profession. Schedules are negotiable, but would typically fall between the hours of 9:00am – 5:00pm, Monday- Friday.  These opportunities are unpaid but students are encouraged to apply for college credit through their respective universities.

All student volunteers will be provided with hands-on, real world experience in a professional theatre environment. Student volunteers will be full members of their departments, requiring them to attend appropriate departmental and staff meetings. The KC Rep Theatre’s staff will provide each student volunteer with training, guidance, and professional knowledge. In addition, student volunteers receive free admission to Rep productions and the opportunity to visit and tour other local arts organizations. To apply, please contact 816.235.2707 or educate@kcrep.org.

Kansas City Repertory Theatre’s Job Shadowing Program gives local high school and college-aged students an opportunity to shadow a member of KC Rep’s professional staff for a day or an event as a slice-of-work life view into a career in the theatre or arts administration. Interested students need to be recommended by a member of their  teaching staff and signed parental permission is required. To apply, please contact 816.235.2707 or educate@kcrep.org.

Stage Managing and Directing are wildly different fields - try be able to do a little of each - there are two very different paths to a career in each of these.  But the more you learn about the life of a show, and how shows are produced - you may find your calling somewhere in there - and help get focus.  Once you get focus on where you want to go - there maybe an obvious path to get there.

Also, you don't a degree in theater to do theater - we are wildly diverse group of people with wildly different backgrounds (I was a psych / pre-divinity major - no snickering for those that know me).

But, who knows you may be able to combine your love for theater and journalism down the line.

561

Tools of the Trade / Re: Any Stage Managers use LiveScribe Pens?

« on: Feb 25, 2013, 07:43 am »

it seems like it would be a neat toy, but I doubt much that I write down live would I want to transfer - since most of my written notes are short hand, for a longer note/explanation I will add to a report.

I am sure some stage manager could get a huge kick out it . . . and could find several uses.

562

Self-Promotion / Re: Off to China

« on: Feb 24, 2013, 09:50 pm »

I already have the shoes . . .

AND NOW THAT I KNOW THERE IS GUAC!!!! I am thrilled!!!!

563

Introductions / Re: Hello! Hello!

« on: Feb 24, 2013, 04:23 pm »

Welcome, welcome, welcome . . .

564

Students and Novice Stage Managers / Re: Is It Even Worth It?? (Conflict resolution)

« on: Feb 24, 2013, 12:16 pm »

And, if it helps, I have had a fairly successful career in stage management, and never stage managed until I was in a Junior in College . . .

565

The Green Room / Re: "I quit!"

« on: Feb 24, 2013, 01:39 am »

I quit a show once (gave notice during tech) - due to my partner's father passing away.

I quit a show (I knew the end was near) - long running musical, moved on to a major regional theater.

I did not re-sign a contract to leave one company, which allowed me to move on to another company.

I quite another company (Although did give them 5 months notice I was looking for something new, and 6 weeks notice I was leaving the show).

I quit two jobs months before a show (after a signed contract) to move on to MRE.

Countless jobs I have been in talks with, but passed for something better.

It happens all the time, and we move on . . .

(But trust me the first time is KILLER, YOU THINK YOU WILL NEVER WORK AGAIN).

But you move on.

It's small world, but look at how many stage managers there are in the world . . . and how many stage management jobs there are.

566

The Green Room / Re: "I quit!"

« on: Feb 24, 2013, 12:42 am »

The second was a long running gig - Matthew is so right, you like to think the show can't go on without you... but it can and it does and it should be able to. I had health issues that piled on top of an ailing parent so I decided to bow out and gave four weeks notice. They did offer me a leave of absence which was touching (I had been with the show for over a year, and since it had first come to the US) but ultimately I didn't think it was fair to leave whoever was standing in for me with no sense of when their gig would be up.

We often think that a good stage manager is irreplaceable.  But, in reality, a great stage manager is 100% replaceable.  Your paperwork, your calling script, everything should make your replaceable.  It's your personality and style which should keep people coming back to you.

567

Tools of the Trade / Re: The Curse of Drop Box

« on: Feb 24, 2013, 12:39 am »

There is a difference between copying a form and copying content.  This was a content issue. 

I am more flattered then pissed when people copy forms - but seriously, how many different ways are there to make a daily call sheet?  And, my format has evolved over the past 15 years - borrowing a bit from stage managers (with permission).  So, they have evolved. 

But a flat out copy (font, break down, working, terminology - I call some things some very specific things . . . ) - without permission - that's a bit different.  A bit different.  (especially a long, 10+ page document). 

I think at the end of the day - ASK!  It's so much better to ask permission, then gamble with the other person being angry and have to deal with that.

568

The Green Room / Re: "I quit!"

« on: Feb 23, 2013, 11:16 pm »

Things I have negotiated . . .

Higher Pay
Duties (on a seasonal contract)
Billing (PSM versus SM)
To be included in a press release
To be included on the web page
Approval of My Assistant / Able to bring my own assistant
Time Off  (need a cover at some point)
More Money (I am always aiming for at least 10% over minimum)
Car (or having use of a car to myself)
Dog Friendly Housing
Higher Per Diem
Longer Tech Time (I actually said I wouldn't do the show unless I got 1 day more of tech)
AEA ASM over a NON-AEA ASM
Additional PA's (Interns)
1 Round Trip Air Fare (In addition to my transport - to allow a quick trip out, or bring someone in).
Side Work (I was to be first offered any "babysitting" of the theater)
Relocation packages (remember, I mostly do longer contracts)
Time off above and beyond AEA Minimum
Equipment
ADDED -->  Travel time - sometimes I ask to come early and be housed just to get the lay of the land and/or take a break between jobs.

Everything is negotiable . . . and remember, as long as you are not a jerk about it - and can make an argument for it . . . the worst they can say is no  [BUT, AGAIN, DON'T BE A JERK ABOUT IT] - and once you sign a contract, it's hard to negotiate these things.

569

Self-Promotion / Re: Off to China

« on: Feb 23, 2013, 02:24 pm »

I did know someone currently on the show.

570

Self-Promotion / Off to China

« on: Feb 22, 2013, 08:52 pm »

I am not the first person on this board to work on THE HOUSE OF DANCING WATER in Macau, China - but I am joining the thier Stage Management team in April as a short-term maternity cover starting in late March/Early April - it's part of my 24 months of no-Shakespeare challenge I am setting up for myself in trying to spread my wings and get some more diversity on my resume.  I interviewed the first week in January, and have been doing a wide variety of interviews, meetings, and lots and lots of emails about documents for my Visa.  This will be my first Circus and, although not my first international show, this will be quite a change for a me.  Today I got word everything is lined up, we are just setting up my travel.  I have 40 days to relax and unpack from my last show until I hit the road again.  (My husband is very upset, and pouting now, but I have high hopes he will forgive me!)