Messages

586

The Green Room / Steering your career . . .

« on: Feb 14, 2013, 08:23 pm »

How much really can we steer our career in the direction we want to? 

I know for me, I find myself very typecast (regional theater, classical theater and working well with challenging productions or creative team members), and I am trying to break into a new and different paths for me.  I am frustrated with where my career is currently, and wondering if people had similar stories?  New paths taken?  Good ideas or not?

I am actively trying to pursue non-classical theater shows at this time (although I am not totally closed off, I am trying to get a more diversified resume – musicals, new shows, non-classical theater).  I am also trying to get non-PSM positions on larger shows to show that I can assist.  (I have the odd resume in which I really only have three true ASM experiences in my career.) 

I am frustrated because I really have become type, and I feel like I have hit a growth ceiling – with the jobs I am interviewing for and the jobs I am being offered, and want to, desperately shake it up.  I have a couple of things in the work – for immediate jobs that I feel like could open my resume a bit.

But in the end, is this truly a career you cannot steer?  Should I be satisfied I am working, and just take the next job?  Should I let fate/destiny/luck take control?  How do I keep from just doing the same thing over and over?  (OR, OR . . . should I accept that I am really good at what I do, and have been doing, and be happy with that?)

587

Stage Management: Plays & Musicals / Re: TECH: Thoughts on paper tech

« on: Feb 13, 2013, 06:36 pm »

Also, you maybe able to "paper tech" by department.  Sound will often be able to give you a cue sheet ahead of time. You maybe able to meet with scenic and discuss transition (especially if there is automation).  You maybe able to then pre-tech all of these elements ahead of time . . . to be as ready for tech as you can.

588

Stage Management: Plays & Musicals / Re: TECH: Thoughts on paper tech

« on: Feb 13, 2013, 04:33 pm »

A paper tech with the director and all the designers - simply not going to happen until production elements FORCE it to happen.

On the other hand, me and my team will ALWAYS paper tech a show (go into tech with a run book done).  I have cues written into my book ahead of time - I know where most of the plot drive sound cues go, I know where projections will start . . .

But at the end, the team needs to be in the room and riff off each other.  Plus, most of the time, I am luckily to see lighting designer or sound designer before a designer run anyway . . .

589

The Green Room / Re: FACEWASH - clean up your facebook profile.

« on: Feb 12, 2013, 12:04 pm »

Mine had a couple of comments flagged due to conversations about gay marriage.

Which just made me think if I had made any political comments that could possibly put me in a bad light.

590

Stage Management: Plays & Musicals / Re: RUNNING: Prop/costume responsibility

« on: Feb 11, 2013, 10:24 pm »

You can never expect an actor to check their props . . . it takes a very special actor to walk through and do a double check.  But the reality is the prop person should set it, check, and stage management should do the double check. 

591

Stage Management: Plays & Musicals / Re: RUNNING: Prop/costume responsibility

« on: Feb 11, 2013, 08:27 pm »

What really hit me, and why I brought it forward for discussion here, was the way that no one came forward to claim responsibility for their part in the situation.

The ability to step forward and say "That was my responsibility, that was my fault" only comes from maturity.  I know stage managers in their 50's who don't have that skill set.

It's EXTREMELY difficult for to be the SM without an ASM running the deck - how can you be eyes everywhere at every time.

592

Stage Management: Plays & Musicals / Re: No Understudies Versus the Show Must Go On

« on: Feb 11, 2013, 04:07 pm »

It's complicated on many, many levels.

In most cases that I have dealt with on the fly it's has been non-AEA covering non-AEA. 

But, to me the big issue is that is a contractual issue . . . A SM should not be "hiring" anyone, and in these heat of the moment . . . turning to someone and saying, "hey, can you go on?" is equal to hiring.

What I think it is interesting is the question how AEA would define "emergency" - does a producer opting NOT to have understudies, constitute an emergency when an actor goes out?

Luckily, in my current situation I have a great cast, and a good management team that has allowed me some freedom - and we were prepared for a possible "emergency" unofficially, but not contractually - so it wasn't a complete shock.

 

593

Stage Management: Plays & Musicals / Re: Prop/costume responsibility

« on: Feb 11, 2013, 02:05 pm »

There is blame - no fire and pitchforks - but without responsibility - this problem will happen again.

594

Stage Management: Plays & Musicals / Re: No Understudies Versus the Show Must Go On

« on: Feb 11, 2013, 02:04 pm »

So, yes, it's  a never ending circle . . . we don't have understudies, but everyone works "for the good of the show" and we will pull it off . . . proving there is no need for stage managers.

Who ever said the "Show Must Go On" had money in the show.

595

Stage Management: Plays & Musicals / Re: Prop/costume responsibility

« on: Feb 11, 2013, 01:53 pm »

But . . . wait . . .

I think there is something about doing a quick post-performance investigation and figure out what went wrong.

A mistake was made, and, to be honest, a bit of a rookie mistake - this is a pre-set issue - not something that went off during the show causing the mistake to be made.  Something is not working in the flow of the show if something is going wrong.

Ultimately, if this was my show, who was to blame?  Me.  As the stage manager I am the one to blame - it was my responsibility to make sure the deck stage management and run crew had a system in place to make sure the show is ready to go every time.  (Not all stage managers manage this way, this is how I would deal with it.) 

To sort of shrug it off and say "well, mistakes will be made" is not the way to change, improve and set up the best environment for closer to a 100% success rate every time.

596

Stage Management: Plays & Musicals / UNDERSTUDIES: No Understudies Versus the Show Must Go On

« on: Feb 11, 2013, 01:19 pm »

As an AEA Stage Manager the thought of “No Understudies” warms my heart and strikes fear in my heart both at the same time.  No one likes rehearsing, teching, polishing a show up in previews, open, and then bang, go back into rehearsal for the understudies.  But, at the same time, without contracted understudies, you will still face the notion by producers that “the show must go on”, and often drop the problem back into the SM’s lap.

(Sigh)

On my current show, we had two ensemble members go out – and it was left to stage management (my entire team) to figure out how to rewrite the show, re-do tracks and, with the help of the fight captain, re-do a battle.  It did require other ensemble members (non-AEA) to volunteer and step up to bat, learning new lines, new blocking, etc.

But, I felt dirty doing it – these actors were not “contracted” to be understudies, they did it “to help out”.  (Technically, it feels like I, as stage manager, was “hiring” this actor to do a new role . . . which is not technically legal.)

What is frustrating that if management had sat down, they could have understudied the entire show with the current ensemble and just one outside male and female swing, but theaters see understudies as an excessive cost that often is unneeded, and then, when sickness or something else strikes, the magic of good stage management can jump in and solve the problem.  AEA actors tend to not like to understudy roles for a show they are already acting in (extra work, no real extra money) – so in the struggle to cast, to add the “additional duty of understudying” is often a deal breaker. 

Part of me feels that is a theater makes the decision to have no understudies, they are making the decision to cancel a show if someone is ill.  But, management does not see it that way (although, I do have to say, I have worked on shows where canceling was the preferred choice then sending on someone with a script.).    Although I feel like I can sit around during previews, and come up with “plans” on my own, I honestly feel like management needs to contract those actors . . . to be fair . . . and give them some lead time.

I am torn . . . this is one of the first times in my life I feel like hunkering down and tossing the problem up the ladder rather then be the superhero and solve the problem on the fly.

Thoughts?

Thoughts?

Edit to add topic tag. - Maribeth

597

Stage Management: Plays & Musicals / Re: Prop/costume responsibility

« on: Feb 10, 2013, 09:02 pm »

Physical Checklists you Check Off Every Show.

Use them, get your crew to use them.

Two shows days are always ripe for mistakes . . . you have the memory in your head "Oh, I already set that prop."

598

The Green Room / Re: ARTICLE: Backstage at 'Metamorphoses'

« on: Feb 09, 2013, 11:18 pm »

Most water shows use chlorine alternatives to avoid damaging costumes and avoid the smell.

599

The Green Room / Re: SNOWMAGEDDONPOCALYPSE

« on: Feb 08, 2013, 09:09 pm »

It's interesting when you start working professionally, a theater will do EVERYTHING IN THEIR POWER not to cancel - a canceled show equals refunds.  If you can't come in due to weather, but we did a show - we just re-seat you - which is not a revenue loss (although a loss of potential revenue).

I have done shows down crew members (and put on understudies) under some of the worst weather situations - to near empty houses.

Rehearsals are another thing - some directors get so insane about possibly loosing rehearsal time (and if it's tech time, forget about it) - I once had to do tech in an Ice Storm so bad . . . the opera canceled performance - the first time they had done so in 30+ years - but we still had tech.

600

Employment / Re: La Jolla Playhouse is seeking SM/ASM resumes

« on: Feb 06, 2013, 03:35 pm »

When a season casting notice goes out, there is often a request by AEA to ask where Stage Managers can send their material.