Messages

61

Stage Management: Plays & Musicals / Question for all the SMs out there

« on: Feb 21, 2006, 11:02 pm »

As i see it, only stage management is being paid to watch the show and pay attention to everything happening on stage at all times.

My ops have their personal laptops with ethernet connections in the booth, in addition to books, crossword puzzles, sudoko, whatever keeps them awake between cues.  As long as the cues are taken when called, not taken when not called, and my occasional "has that always looked like that?" questions promptly answered, the job is being done.

I kindly request that all cellphones in the booth be muted.  Common courtesy.  I don't care that the booth is sound proofed, no one wants to hear the muppets theme song during an intense scene.

62

The Hardline / To join or not to join

« on: Feb 20, 2006, 04:34 pm »

That seems like a great opportunity, knowing both sets of rules and bridging what can sometimes be a gap between union crews and union SMs.

63

Stage Management: Plays & Musicals / British Stage Managers

« on: Nov 08, 2005, 02:31 am »

That is the same over here, although often just called the Production Manager.  

I expect to have a production manager who isn't part of the SM staff, but more responsible for oversight of all things production-based (especially hiring, season planning, and all that financial stuff that would drive me batty.

I had an intern for a show once. I actually kept her fairly close to me all the time as a secondary SM, mainly because she was most interested in becoming a DSM in the future. Child labour laws state that she had to be

There are few things more wonderful than having a good intern  I've been blessed with several really amazing interns who evenly split the ASM duties on shows.  And i've also had a couple of really unhelpful interns who  weren't able to accomplish anything without constant supervision and prodding.  I like to start with coffee and copies and then build on that until they reach saturation and overload.

Oh yes, let's see just how OT this can become.

64

Stage Management: Plays & Musicals / Your book Left or right?

« on: Nov 08, 2005, 02:09 am »

okay then...here's a question:

would it work to make your call script double sided (as in text on both sides of the script)? This is assuming that it is a call script only (no blocking, just cue stuff) If all you have to do is call cues and everything is automatic, (aka you don't have to say bring up cue 3, which is channels such and such at such and such levels..)

Eep!  I think that would hurt my brain.  Plus, it's nice to have that blank facing page for noting contingency plans or other helpful notes.
And it would be mighty unpleasant writing on both sides of the binder ring during tech.

65

Tools of the Trade / Re: Electronic Calling

« on: Nov 06, 2005, 11:59 pm »

 On the right is a databse I have written that lets me take notes in show for the report and for actor maintenance notes.  I have programmed buttons on the control for various actor names and departments.  Once I finish a show, I can use the database to automatically generate the show report and eMails with the report and various notes to everyone concerned.

This strikes me as the coolest thing ever.  My handwriting is illegible (sometimes even for me) so i try to type whatever possible, and would love  to see an example of how you do this.  What kind of software are you using?  Is the show report/notes database something that can be done with basic microsoft office?    
Would i need fancy software to view an example?  

(i gladly give credit where due, my contact sheets still - four years of use later - have a little TM credit to MWShiner industries in the footer.)

erin
-enelson@obscure.org
erin@scr.org

66

Stage Management: Plays & Musicals / British Stage Managers

« on: Nov 06, 2005, 11:09 pm »

DSM is deputy stage manager - a typical name in a large musical for a traditional stage manager. The actual SM is more involved in the interdepartmental relationships and managing the SM team.

Fascinating!  How much do US and UK terminology differ?  I spent a year in London but didn't do any theatre work while i was there (which i now regret...)  and wonder how much titles and repsonsibilies vary.

The structure I'm used to in US regional theatres is (and others please chime in with variations):

- Production Stage Manager (PSM) oversees an entire season or multiple productions by the same producing organization.  Largely an administrative post, but also SM's individual productions.

- Stage Manager (SM) runs rehearsals, calls the show, organizes all elements of one production and is responsible for all things that happen onstage.  Larger shows might have multiple SM's who rotate calling, running deck, or administrative responsibilities.

- Assistant Stage Manager (ASM) performs duties as assigned by the SM, usually runs the deck (in the absence of a union deck chief) and is responsible for all things happening backstage.

- Production Assistant (PA) functions as a non-union ASM.

- Stage Management Intern functions as an unpaid PA.

67

Stage Management: Plays & Musicals / Re: um

« on: Nov 06, 2005, 10:52 pm »

let's not rule out the fact Erin could idea just be a freak.

Ah,  Matt, how i do miss your grammatical creativity ;P

I do subscribe wholeheartedly to the idea than any other SM could pick up my book and call a show from it if i were to be smooshed under a bus,   but i just can't deal with right-handed set up!   Oh well, anyone taking over from me should be making his/her own book anyway....

Give DB a hug for me.  How's his S/O?

68

Stage Management: Plays & Musicals / British Stage Managers

« on: Nov 06, 2005, 04:25 am »

Deborah is right. The London SMA is the way to go. They'll get you in touch with those that may let you shadow a stage manager during a show. It does depend on who the DSM is and how comfortable they are with the situation but generally you get a good response.

I have to ask:  what is a DSM?  Deck stage manager?

69

Stage Management: Plays & Musicals / Your book Left or right?

« on: Nov 06, 2005, 03:58 am »

 A tip on calling a consistent show:  I put a bold "." where I should start winding up the que so that there is a consistent pause between the que and the "go".  I hate it when I hear myself wind up too soon and then have to say "wait for it...GO!"  When I figure out the rhythm of the que, it remains the same every night.

I do a similar note:  a " /  " when i start loading the cue.   On occasions where i don't note the start, for whatever reason, i find myself constantly second-guessing myself and end up with erratic pacing.  It's one of those little things we can do to help the board ops

70

Stage Management: Plays & Musicals / Your book Left or right?

« on: Nov 06, 2005, 03:47 am »

I'm that freaky left-hander who does everything backwards.

In rehearsals, i keep script on the right of the binder with blocking on the left, so as not to have to write over the ring.  My calling script has script on the left, with all the cues in the left margin.   I keep my rehearsal/show reports on the table, left of my book and cue lights on the right.

I've tried many times to convert to having my book the "right" way, but my addled mind is too set from a lifetime of starting from the back of the notebook.  It's often a source of consternation to other sm's (and directors, and actors) trying to consult my notes when i'm out of the room

71

The Hardline / follow up

« on: Nov 06, 2005, 02:58 am »

Turns out it is a remarkably simple situation.  Since the two roles are contracted separately, each is treated independantly of the other even though both are with the same organization.   The TYA/LORT overlaps are far simpler to deal with than the LORT rollovers.
 Eh, who really needs Scrooge in rehearsals anyways?

72

The Hardline / HAVE I EVER READ THE RULE BOOK?

« on: Oct 15, 2005, 12:35 am »

Sunday = "Think out loud Sunday."  

....cuz then you have Monday for everyone to calm down....

73

The Hardline / Re: HAVE I EVER READ THE RULE BOOK?

« on: Oct 14, 2005, 11:53 pm »

(b) Each Stage Manager and Assistant Stage Manager shall have a meal break of no less than one hour during each work day at an appropriate interval. (It goes on to list the penalty)

I found that rule last spring, so it isn't brand new.  On the west coast, at least ;P
I took that rule round, showed it to all the SM"s in the theatre, and we all had a good laugh.  As though setting up doesn't count towards rehearsal hours.  

When you have a 10am call the first day of tech, and the first break is at 5...well...i think we all know how often *that* rule is obeyed.

I just last week found a rule that you can't call the show while topless.  Keep that in mind.

74

The Hardline / LORT / TYA overlap

« on: Oct 14, 2005, 11:45 pm »

Has anyone ever overlapped LORT and TYA contracts?  

Possible scenarios:  
1.  SM for a TYA starts on a LORT contract during TYA performance weeks, concurrently rehearsing LORT and performing TYA.
2.  ASM of either a LORT or a TYA rolls over onto the other contract but continues to be the "ASM of Record" on the first show while a non-eq "crew" takes over the track (i think this is probably not kosher, even though it's done many places.)
3.  ASM for a LORT rolls over onto rehearsing a TYA.
3.  Actors in TYA performance starts rehearsal on a LORT
4.  Actors in a LORT performance start rehearing on a TYA

My brain is spinning.  

Though the two contracts share many similarieties, max weekly hours for both Actors and SMs are different and rules about rehearsing on performance days are different.  

The biggest issue here is taking actors who are doing 2 TYA performances in the morning (9:30 and 11:15am curtains) on Tuesday, Wednesday and Thursday, done with performances by 12:20pm, and then have to go to rehearsal for a LORT in the afternoon.  We're looking at a 9am-12:20pm span of day for the TYAs, then adding on rehearsal hours for the next show.  
How long of a break do they need between?  
How many hours can they rehearse per day?  
Per week?


On the reverse, performing a LORT show in the evenings, how long can they rehearse for a TYA during the day?  

The good news is that i have some time to muddle through this conundrum.    This situation has never occurred at this theatre before, so everyone is in the dark.  
(I sense much time on the phone with the LA office in my future.)

Surely someone else has been here?

75

The Hardline / Re: unemployment

« on: Apr 23, 2005, 01:22 am »

Okay -

Unemployment insurance.  Often there's a month, maybe two, in between the end of one contract and the start of the next.  We all pay in to it when we work - at the end of the contract, can we collect?

How does this work for theatre artists?  Is it common to collect unemployment?  How long can you collect?  How do you go about getting the money?

Never thought about this before.

Hey there!  

In CA, you can file a claim for unemployment online at  www.edd.ca.gov
Payments are based on a percentage of how much you made over the previous year, broken down into quarters, paid on the quarter you made the most.  A claim stays alive for a certian amount of time...maybe ten months?  Once you file a claim, there's a one week waiting period with no money, after that you fill out a bi-weekly claim form.  If you work part time (or one day - their weeks are sunday-sat so closing day of a show counts towards the next week) the payout is reduced.  

Keep in mind that one week unpaid waiting period- file by Friday the week your contract ends.

If you start a claim, file for five week, then go on contract for 2 months,  you can re-instate the claim if you have a few weeks off before then next show or while looking for the next one with no waiting period.

Once that claim ends...if you've worked in the previous year you can open a new claim.  

The only down side to the online application is that it requires you to fill in  a union number.  I don't know AEA's "number" but using my own membership number worked a few months ago.

You are also required to register a resume and such with job-finding agencies.  All can be done onlilne.  Time to spruce up that civilian resume