Messages

61

Uploaded Forms / Re: Preset

« on: Feb 04, 2011, 04:15 pm »

Attached is an example of a basic SM preshow checklist

62

Stage Management: Plays & Musicals / Re: Sign-in Sheet for Rehearsals

« on: Jan 19, 2011, 05:03 pm »

I don’t use sign-in sheets during rehearsals for small-cast shows.   I usually start during Tech.  If it makes your job easier to have them sign-in for rehearsals, go for it.  If it makes extra work for you and doesn’t feel necessary, I don’t think you should feel pressured to provide one.   

The one time I had an actor ask me about this, it was on a four person show and he had just come from a season with our own Matthew Shiner as PSM, so apparently his good call board habit really did stick  . 

63

College and Graduate Studies / Re: Major in theatre or not. . .

« on: Jan 18, 2011, 05:00 pm »

If you search around the boards, you’ll find there are a wide range of opinions on whether a SM/theater major or some other major is a better choice.  Ultimately it is up to you, and different paths work for different students and different people.    One way to find out if your current path will help or hurt you in the grad school realm is to check out some schools you are interested in and ask them what they’re looking for.  My other thought is that, having a “student-run” department, you could be missing out on opportunities to learn from seasoned professionals and knowledgeable instructors.  There can be many benefits to peer learning and trial-and-error, and I’m sure you can find a way to sell those aspects to schools and employers.  But I personally think it would still be important to get some traditional education from a college degree, otherwise you might as well not pay for tuition, but just work in theater instead and learn experientially.  Another thing that jumps out for me in your post is that it sounds like you feel stuck at your current school.  Is transferring to another college an option to explore if you find this one is not for you? 

64

The Hardline / Re: Equity? In this economy?

« on: Jan 17, 2011, 04:39 pm »

AND, even the decent university-trained recent grads often have only worked in their school's large, state-of-the-art houses. Small and mid-sized theaters, places with minimal budgets or requiring creative problem solving (ie someplace where 2 crew members pretty much do it all - sweep and mop, wardrobe repairs and laundry, QC, props, and also handle the spot or sound etc, where the ASM stationed SR might become the extra arm on the one three-handed costume shift in a show), just doesn't enter their consciousness.

You make a great point, I feel like I’ve run into this.  Maybe some of the “bad” SMs are those who are unhappy that the job isn’t what they were taught it would be, and they’re not prepared for getting their hands dirty, sometimes literally, when a big crew isn’t in the budget. 

Going back to the OP, I think my job options have stayed the same.  Now, I’ve always had a couple non-theater gigs as part of my season, so I’ve never looked to fill an entire year as an SM.  The non-equity job listings I’ve seen do not seem to offer competitive pay.  Go Equity if you want to be a member of Equity, not because you think it should be your next step.  A career in theater has always been partly a gamble.  One might make the argument that it’s a more socially acceptable gamble now, since people with careers that are supposedly stable have been finding themselves laid-off, it’s not just us wacky artistic types who are unemployed.   I think it’s a good idea to have a Plan B whether you are Equity or not.  The theater lifestyle can be very demanding, and many of us will decide at some point that we want to explore other options.

65

The Hardline / Re: "Equity Business"

« on: Jan 16, 2011, 05:07 pm »

If you were handed an Equity contract tomorrow, you would need to read the associated rule book cover-to-cover.  You don’t need to memorize it, but you need to have a sense of what it contains so you can references it later. Then if you have questions about a particular rule, you can post them here on SMNetwork!

The specific rules for each contract dictate the ways in which the production process for an  Equity show will be different from a non-eq.  The rules about safety and scheduling are among the most impactful to SMs in terms of the daily flow of rehearsals & show calls.  I don’t think anyone can give you a comprehensive list of other differences because things vary so much between theater companies.  A lot of the differences I’ve encountered stem from budgets, space, and staffing.  While Equity houses tend to have greater resources, it isn’t always the case, especially when comparing a low-paying contract, an SPT-1, for example, with an established non-equity company.   

Weekly submissions may vary by contract also.  In SPT for example, the SM does not provide anything to Equity on a weekly basis.  The SM packet provides a number of documents that you use only if a specific situation occurs, and they are submitted as needed.    I’ve never looked that closely at what the deputy submits, because one of the great things in my mind about having a deputy is the fact that I don’t need to cover their responsibilities.

66

Tools of the Trade / Re: How long should one keep old prompt books?

« on: Jan 11, 2011, 04:40 pm »

Keep them as long as you need them.  It’s not like your tax returns where there is a hard and fast rule.  When I was new to SMing I was working for theaters that didn’t take my call book, and it was good to have the last few available as examples of what worked for me and what didn’t.  Since you have “tons” of old prompt books, you’re probably past needing them for that purpose.  These days I only keep a script if I don’t have it electronically or want it for posterity, but most of them I’ve recycled.

67

Employment / Re: Juggling Acts

« on: Jan 09, 2011, 10:19 am »

I don’t think any of shows would be expecting you to be “dating exclusively” at this point in the process; they most likely assume you’ll continue to look and might take another offer if theirs does not firm up.  You need to look out for yourself, and not give them information that would move you further down the pile.  And remember they do have a pile, so it’s not like the show will go without a PSM if you take something else.  If multiple offers come to fruition at the same time, then you can try to use that to negotiate.  If time passes and you haven’t heard from anyone, I might ask what their time line is for their decision, because you are considering other offers.  You can also remember that if you don’t get some of these opportunities, but you made the short list, you can ask about future productions.     

68

Stage Management: Plays & Musicals / [FAQ] Best of Prompt Books/Prompt Scripts Threads

« on: Jan 05, 2011, 07:30 pm »

The threads below cover many of the major questions and issues surrounding prompt books.   Please check these out before you start a new topic.

What's in a prompt book? http://smnetwork.org/forum/index.php/topic,674.0.html
Creating a Calling Script http://smnetwork.org/forum/index.php/topic,967.0.html
Your Prompt Book - Left or Right? http://smnetwork.org/forum/index.php/topic,767.0.html
Gratuitous Paperwork  http://smnetwork.org/forum/index.php/topic,3874.0.html
Question from a newbie! (Merging Libretto and Score)  http://smnetwork.org/forum/index.php/topic,3048.0.html
SMing Musicals (calling from score) http://smnetwork.org/forum/index.php/topic,2428.0.html
Easy Question (Cut and Paste Prompt Scripts) http://smnetwork.org/forum/index.php/topic,1071.0.html
Also see TOTN [FAQ] Electronic Prompt Copies http://smnetwork.org/forum/index.php/topic,712.0.html

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Stage Management: Plays & Musicals / Re: Stage Manager IN the report

« on: Dec 26, 2010, 04:51 pm »

It depends on the theater company for me.  If it’s a big company where scores of people are reading the report, I’ve used third person sometimes for clarity’s sake.  When the distribution list is more contained to the production team and relevant theater staff, I generally use first person to describe my own actions.   I think it is clear enough who is writing and sending the report, and feels pretentious to do otherwise when everyone knows each other and is on a first name basis.  If a note involves several of the SM team, I may use “stage management”.   

70

Stage Management: Other / Re: Backstage at the Nutcracker

« on: Dec 17, 2010, 05:29 pm »

I love the parent who got out of their car and ran their child over to the theater.  I’m sure I would have hated being stuck behind them, but I admire their commitment to the production.  I’ve certainly been tempted to ask actors to do that when they tell me they’re in traffic a few blocks away, or circling for parking.

71

The Hardline / Re: SPT SM Overtime Tech Week

« on: Nov 21, 2010, 12:20 pm »

I’ve done a lot of SPT, and I think “required” to be at the theater can be the catch.  Like Balletdork, I would not count normal pre-set time since really my crew is doing the work, so I think I should be there but am not sure it is “required.”  I would count a dry tech or specific meeting to work with a designer or the director on an issue before actors arrive as required and falling into overtime.  In working with your producer on this, I’d also clarify which Tech Notes you mean.  I’ve usually heard the post-rehearsal notes for tech referred to as the production meeting, and the Tech Notes being the work that needs to be done by set, lights, etc, before the next rehearsal.  If the producer is thinking like me, they may not think you need to be present for Tech Notes.  But if they’re on the same page as you and thinking about post-rehearsal, I’d agree with others that the SM should be there.  A final thing to remember is that as SM you have more hours in your contractual work week than the actors do.  If your theater company is efficient, they may be able to accomplish notes quickly enough after rehearsal that you are kept within your maximum hours, so keep careful records of when you come and go. 

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Students and Novice Stage Managers / Re: Stage Managment Colleges in NY

« on: Nov 21, 2010, 11:49 am »

If we’re talking SUNY, I have to plug my alma mater SUNY Oswego.  Lots of opportunities for hands on experience, great people, and you’ll have impressive stories about the weather for years to come.   

73

The Green Room / Re: "Multi-tasking" actors and designers

« on: Nov 10, 2010, 02:11 pm »

I can’t say that I’ve personally noticed an uptick in this, but it would make sense given the overall economy that perhaps more people are taking second jobs when they can, to compensate for a lack of work at other times.  I feel like actors are usually the most easily replaceable folks in the equation, since at least they can have understudies, although as tempest_gypsy points out they aren’t always dealt with fairly by producers.

I do wish producers would check out conflicts more when they’re hiring designers.  It would be nice to see theater companies giving new talent a shot sometimes rather than having their usual person fit the show in between other commitments, and not really have the availability to support all of their productions.  If a designer knows they have a schedule conflict, and is working with a competent assistant, that’s another viable solution to waiting for answers or going without an element during tech.

74

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: What to do when you're sick?

« on: Oct 20, 2010, 07:57 pm »

In a community theater setting, I think you could consider calling the director, or other members of the production team if there are any, to call in place of the SM in case of an illness.  Having board ops  take there own cues is also a reasonable solution.  I don’t think it’s a bad idea to leave the ASMs backstage, because I tend to think it’s better to have one person in a new role (in this case the SM), rather than several people in new roles at the same time. 

In terms of preparation beyond the prompt book, I think a pre-show check list is important.  I’ve met SMs who keep this in their heads, but a fill-in really needs a step by step list on everything they need to do and when they should do it, from turning on the heat to adjusting their booth set-up.  If planning ahead before a crisis, I’d also want to think about how to tell the cast and crew that the SM is out, whether it would just be signs in the dressing room, or an email early in the day. 

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Stage Management: Plays & Musicals / Re: SHOWS: How to deal with walkouts

« on: Oct 19, 2010, 05:42 pm »

Keep reminding them that the audience is reacting to the play itself, not the acting.  I’d encourage the cast to take it as a compliment.  I really like plays that are challenging and make people think and squirm and laugh uncomfortably.   Clearly yours is hitting that mark nicely.  Who wants to see something comfortable and predictable at the theater?