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Messages - Maribeth

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571
Tools of the Trade / iRFR App
« on: Sep 16, 2013, 12:07 pm »
Anyone used this app? https://itunes.apple.com/us/app/irfr-bts/id318210456?mt=8

The theatre I'm working at has it running on an iPad at the SM desk. It connects wirelessly to the light board and keeps a cue list running in front of you at the desk. You can see cues execute in real time and see what cue you're in currently. I think you can also use it to run a channel check or otherwise remote in to a board.

The only downside I've noticed is that it can, at time, lag a half-second to a second behind the live cue, letting you think a cue hasn't started when it actually has.

Not an app I would buy on my own (more geared toward a company's use than an individual's), but it's nice to be able to see how the cues are timing out as they run. And, very easy to check and make sure you are in the right cue if there's ever an issue.

572
Introductions / Re: Old hand saying hello
« on: Sep 16, 2013, 11:46 am »
Hi and welcome, Joe! Glad to have you on the boards and looking forward to hearing experiences from someone who has experience in different aspects of theatre.

Maribeth

573
Here's a thread about some alternative taping options: http://smnetwork.org/forum/tools-of-the-trade/tape-out-on-carpet/msg47936/#msg47936

For floors that can't be taped, I have used a large piece of canvas or carpet laid over the floor. You can tape on that, and then roll it up at the end of the day. With the canvas, it helps to have a layer of rubber grip (like carpet padding) underneath to prevent it from bunching and sliding. (It will still bunch, regardless.) It's helpful to gaff tape the sides of the canvas down, which probably wouldn't work in your case.

Here's an idea that may or may not work: Put something vertical (e.g. music stands) at the "corners" of each line, and then use string to connect them, forming the walls. I don't know how you'd keep the music stands from getting bumped or moved- maybe put something like a post-it note under each one? This method wouldn't help with other things that are taped out, like stairs, but it does give you a sense of where the walls/doors on a set are.

574
The Green Room / Re: Delivery of thank-you notes
« on: Sep 10, 2013, 02:00 pm »
Thank you notes are a matter of personal preference- I think it's up to you when to deliver them. It's easiest before people leave town so if there are going to be more people around for soft opening that would be gone by fancy opening, I (personally) would do them at soft opening.

You could ask the PM- if they say no, then they say no. You could also email the folks directly and say, "I have a card that I was hoping to give you, but since I didn't catch you before you left town, is there a mailing address I could send it to?"

575
Not a stage management position, but could be the right job for somebody. Please pass this along if you know someone who might be interested. If interested, PM me for a flyer about the position. (File too large to attach.)

COSTUME SHOP MANAGER
Scope of Responsibility
The Costume Shop Manager is the leader of the costume area of the Clarice Smith Performing Arts Center. This position is the conduit for all costume-related communication at the Center.

The Manager is charged with supervising shop personnel including regular staff and contingent labor and activities so that a learning environment is maintained. The Manager works collaboratively with designers and costume faculty to insure that students learn to construct costumes to meet the highest quality standards possible and to successfully realize the costume designer’s specifications.

The Manager provides daily oversight and direction for the Costume Shop. The Manager is expected to run an efficient and organized shop and to make the best use of Center and other available resources to meet the objectives outlined above.

Essential Job Functions
  • Provides leadership in the costume shop to create a proactive and collaborative environment to include a collegial shop atmosphere that is mutually respectful of faculty, students and staff doing business in the costume shop. Hires, trains, directs and motivates all costume shop personnel with an emphasis on quality workmanship, creative expression, and student learning. Builds strong relationships with costume shop managers and designers at area theatres, universities and other institutions. Maintains accurate budgets for labor, shows and shop supplies.
  • Works with the School of Theatre, and Performance Studies production and design faculty to implement a comprehensive training and mentoring program for students in the area of costume construction and wardrobe management. The manager provides technical support and advice for the student design process; facilitates communication between faculty and shop personnel; collaborates with technical theatre faculty on wardrobe crew mentoring and training; and oversees workload assignments.
  • Plans and schedules all activities for the costume shop including fitting schedules, shop and draper meetings, and build calendar. Coordinates costume shop representation at all production meetings including those taking place during the dress rehearsal process.
  • Serves as primary conduit of information and communication for the shop. Creates and maintains the costume build calendar; participates in Center operational and long-range planning; tracks and manages annual shop supply budget; creates and develops costume forms, documents and processes, Follows-up on all costume-related production notes as well as running weekly staff, shop and draper meetings.
  • Responsible for long-range planning, acquisition and maintenance of equipment and other material resources to benefit all campus users of the Center costume shop. Develops and implements plan to utilize new equipment.

Qualifications
We will consider your application only if you meet these minimum qualifications.
  • Bachelor’s degree required.
  • Minimum of five years of professional experience in theatrical costume construction or a related field, including experience in draping and construction, theatrical dressing, wardrobe management, millinery, wigs and theatrical make-up.
  • Knowledge of current practices and procedures in costume shop and wardrobe management.
  • Demonstrated proficiency with costume shop equipment and technology.
  • Working knowledge of costume crafts, millinery, wigs and theatrical make-up.
  • Superior communication, organization and management skills.
  • Evening and weekend work is required for this position at various times in the year.
  • Master’s Degree preferred.
  • College teaching experience preferred.


To apply
Submit your application online at ejobs.umd.edu. Include cover letter, resume, and names and contact information
of 3 professional references.

Application deadline: Tuesday, September 17, 2013.

For more information about the University of Maryland, please visit umd.edu.

Type of opportunity: Full Time
Department: Production
Salary: Mid $50,000s
Closing date: Tuesday, September 17, 2013
Position number: 106875
Category status: 33-Exempt Regular

The University of Maryland, College Park, actively subscribes to a policy of equal employment opportunity, and will not discriminate against any employee or applicant because of race, age, sex, color, sexual orientation, physical or mental disability, religion, ancestry or national origin, marital status, genetic information, or political affiliation. Minorities and women are encouraged to apply.

576
The Hardline / Re: Mandatory meetings with no contract
« on: Sep 09, 2013, 12:35 pm »
I would say talk to the production manager. Most places I work either don't invite me to production meetings before my contract starts, or invite me but understand that I may or may not be able to make it. (I like to come if I'm able to.) If you can't make the third meeting (especially when you've already been to 2), can someone can email you meeting notes, or can you and the production manager can meet separately during prep week to catch you up on what you missed?

I hardly ever sign an actual contract until the day I start- usually the theatre hasn't received the contracts from AEA until then. But a lot of places will do a Letter of Agreement or a formal offer letter, to be signed as soon as possible once we agree on terms of employment (dates, salary, etc).


577
Self-Promotion / The Glass Menagerie- Shadowing Opportunity
« on: Sep 06, 2013, 07:49 pm »
Opening The Glass Menagerie tonight at Everyman Theatre in Baltimore. Runs now through Oct. 6th.

(And now I finally understand previous posts about the pain of finding little glass animals and rigging the unicorn's horn.....)


578
Something that helps me in tricky situations is: Panicking is not productive. Take a breath, think through the situation as calmly as you can, and decide what to do next. Unexpected things are going to happen- you can plan/prepare for some situations but not for everything. Figuring out how to deal with the unexpected without losing your cool takes practice and you'll get better as you go along.

Sometimes shooting it up the ladder to the SM is the right thing to do- I don't think that necessarily indicates panic. (If I were the SM and someone didn't tell me that a child actor hadn't shown up, I would be upset). Focusing on the most productive solution, without panicking, is what's going to be best for the show and for the people involved.

(As a side note- I've had the fire alarms go off (including tonight), an actor cut himself onstage and have to go get stitches, revolves break, sound system cut out, had to find $80 to pay an actor's cab fare so that they could get to the theatre before curtain, actors get sick, crew get sick, opera singers call out sick day-of, water flood the theatre between shows, a child actor show up at half hour with head lice, freak snow storms- and that's just what I can think of off the top of my head. And, I'm sure there are folks on here with much crazier "things went wrong" stories.)

579
I turn in everything. Almost all of the producers I have worked for want the whole book- I just put it into manila envelopes and label them. If I wanted a copy of something for myself, I just keep the digital copy on my computer. (Occasionally they will just ask for a digital copy of my script and paperwork but usually they want the hard copy).

If they were to remount the show, they might need things like run lists and prop presets. Any info that they can hold onto about the show will make a remount easier.

580
The subject of double casting has come up recently- try doing a search in the search box for the other thread on this subject.

581
Tools of the Trade / Re: MS Excel Powerhouse
« on: Aug 27, 2013, 05:13 pm »
Thanks- looking forward to poking around on there.

582
I suggest doing a search on the words "theatre major"- this topic has come up a number of times before, and you may get some valuable information out of those discussions. 

  • Do you think you're college would have let you still be involved in the theatre program had you not been studying within it?

This question is specific to which college you go to. You should ask when visiting/considering college choices.

583
If the company requires a 5-min break every 2 hours then that's what he needs to take. (I don't think that's a long enough break for actors to get a drink, eat a snack, use the restroom, etc, but that's something to take up with the PM.) If I were in that situation, I would pull the director aside and tell him that you need to take these breaks, but that you're happy to give him a warning to let him know when breaks are approaching.

I think half an hour is too long for a warning, as the director can easily get caught up in whatever scene you're working on and forget. 5-10 minutes usually works for me. I will sometimes also include something like, "We have time to run through this scene one more time, and then we will take a break."

Picking a good time for a break also helps- no director wants to stop in the middle of the scene to take a break, so offering something like, "We have to take a break in 5 minutes- would you rather break now so that we don't have to stop mid-scene?"

He needs to understand the need for/importance of breaks. If talking to him doesn't work, it might be time for either the PM or someone higher up at the theatre to talk to him.

584
Reviving an old thread- As I am working with a new director at the moment, this topic hits close to home for me.

What questions do you ask a director you haven't worked with before? What other ways do you adapt to working with a new director?




585
Introductions / Re: Hello from Washington, DC!
« on: Aug 02, 2013, 12:27 pm »
Hi and welcome from another DC-area SM!

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riotous