Messages

61

Employment / Re: To Break or Not to Break

« on: Apr 09, 2011, 10:11 pm »

I have broken a contract twice, both for with the same local NEAT theatre.

The first time, I had agreed to take over a show for at the NEAT theatre, but then a mentor of mine who was SMing at the local LORT theatre had a medical issue, and I ended up taking over for her, and in this case, it was much more important to me that I was there to help out my mentor, and the money was secondary.

The second time was this past Christmas slot.  I had agreed to do a Christmas show at the NEAT theatre (hadn't signed a contract yet, because NEAT theatres get those back from Equity last minute, usually due to bond issues).  It sounded like a great show and different from the usual.  Then the local LORT theatre came calling for A Christmas Carol, which was going to be my 4th Carol with the company, but first as PSM.  I can't deny that the money was a big issue this time (the LORT contract was a month longer at nearly twice as much a week with lots of overtime).  The appeal of calling a show that promised to have a great deal of technology was strong as well.  I broke off my agreement with the NEAT theatre 6 weeks before, and I did it in the most professional way I could.  They understood, but I'm not sure I'll get many offers there in the future.

62

Stage Management: Plays & Musicals / Re: Re: ESCRIPTS: Post your requests for electronic scripts here!

« on: Apr 03, 2011, 11:39 am »

I'm looking for South Pacific.

63

Stage Management: Plays & Musicals / Re: PROPS: The hardest thing you've had to do in the dark.

« on: Oct 03, 2010, 10:59 pm »

Keeping with the Christmas Carol theme, the last time I did the show I was ASMing, and our Marley flew (ZFX) during the scene where he visits Scrooge in his bedroom, and Scrooge's bed flew (winch) as well.  At the end of the scene, Scrooge's bed landed on the big elevator.  Marley descended through the little trap in a cloud of fog.  I had to receive Marley in said cloud of fog, detach him from the ZFX rig, give him the clear signal, and then give the SM the clear signal so they could fly the rig out.  Then I had to go to the other elevator, open the elevator so the stage carp could hook a swing that the Ghost of Christmas Present entered on, to the bottom of Scrooge's bed.  I then helped her onto the swing, while he returned to the winch to raise the bed off the trap.  All in about 30 seconds.

64

Employment / Re: When is it OK to work for free?

« on: Aug 13, 2010, 11:25 am »

I also "interned my way up".  The internship I completed did provide a stipend, though not a living wage, and it provided housing, which was huge.  I feel that for what I was learning in on the job experience at a large theatre, it was worth it to struggle financially for a little while.  The guidance and mentorship I got from the AEA stage managers I worked under at that stage in my career is still invaluable to me.  My internship helped me to establish connections in the regional theatre world that I wouldn't have otherwise.  That theatre brought me back as a PA, and ultimately gave me my Equity card.  I freelance now, but I still end up there once or twice a season, because we have an established relationship. 

65

Students and Novice Stage Managers / Re: How Many times have you stage managed?

« on: May 22, 2010, 11:02 pm »

I had to think about this for a while.  Counting just professional SM and ASM credits (and not PA or Internship credits), I have stage managed 53 shows.  I will qualify that 25 of those are from a one act festival I did one summer, 5 waves of 5 plays each...so maybe that should count as 5 (but in terms of separate plays, it was 25).  If I add college productions to that, I get another 7.

66

Students and Novice Stage Managers / Re: Labtop vs. Pencil and Script/Notepad

« on: Mar 20, 2010, 11:21 pm »

I also don't see how using a computer could be faster to take blocking.  I like to draw pictures of particularly complex paths or large groups onstage, and even being quite good on the computer it would take me far too long to do that.

I usually have my laptop on the table, closed, for easy access during breaks.  My two most recent shows, however, have been very sound heavy, and we started using sound cues early in the process and in that case my computer was open and connected to the rehearsal room sound system.  Other than for sound purposes, I only open it on break.

67

Stage Management: Plays & Musicals / Re: What's the most controversial show you've ever worked on?

« on: Feb 26, 2010, 05:48 pm »

I did a new one woman show called You're Eating God a few summers ago.  It was a hilarious show, set in the 50's, with a family hunkered down in the bomb shelter because the dad believes the Reds are coming.  At one point, the dad, consumed by hunger started to ravenously eat the communion wafers that the family had stored for Sundays (hence the title). 

We got several nasty letters about that scene, as well as a harshly worded letter to the editor of the local paper from the Catholic diocese.  That letter served to sell out the remainder of our run.

68

Tools of the Trade / Bubble Machines

« on: Feb 23, 2010, 11:59 pm »

In my current show, we are using a bubble machine (DJ grade) to create an effect going into a heaven sequence.  The floor has been getting a little slick over time in the area that the bubbles are mainly landing.  We have had some success with laying fresh sawdust over the area and sweeping it up.  We have also made some progress with a strong concentration of ammonia in water (which was used to great success cleaning large quantities of glycerin based blood in a previous production).  Does anyone have any other suggestions of techniques they have used to to clean up slick surfaces?

69

The Green Room / Re: 10 things actors can do to get off to a good start with a stage manager

« on: Jan 17, 2010, 11:06 pm »

10.  Tell me if you would like something preset a certain way.   Unless it is absolutely impossible, I will make it happen, but I cannot read your mind.  Until I hear otherwise, I set things up in what seems to be the most logical way to me, but I am not the one dealing with the props in the course of the show.  Speak up, and things will be as they work best for you each and every time.

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Stage Management: Plays & Musicals / Re: REHEARSALS: prompting requests around the world

« on: Jan 01, 2010, 02:21 am »

I have definitely seen "Line!", "Word!", finger snapping, as well as "What the F*** is it?"...as others have said, you feel out the individual actor to see what they need.

71

Stage Management: Plays & Musicals / Re: Performance Reports Excerpted or Made Public

« on: Nov 22, 2009, 10:27 pm »

At the theatre I work at primarily, it is understood that performance reports are internal documents.  That said, I still keep an eye on how I phrase things, keeping it all professional (if in a playful tone sometimes) because "internal" can be a broad range.  We've had issues with staff who receive the reports oversharing with staff who do not (like a marketing person saying to an actor "I saw you were late again").  When these issues come up, it usually results in a conversation with the production manager who ends up severely limiting the distribution list for a while.  My production manager has little tolerance for show documents becoming fodder for gossip, especially among departments who only rarely are mentioned in the performance report.  Its an interesting line because while as a stage manager I need to be able to document things like lateness and illness, etc., it can become a bit of a hassle to remember who is on the distribution list, and who needs to be specially included if something in their department comes up.  Right now, we have a fairly broad list because we haven't had an issue in a while. 

72

Employment / Re: resume format

« on: Nov 15, 2009, 06:06 pm »

For those of you who are union, AEA specifically, do you specify which contract different productions are under?  Or do you let the theatre speak for itself and list knowledge of contracts under "Additional Information"?

I tend to work at the same theatres frequently, so the main headings in my resume are the theatre's name, with the equity contract that I've worked there in parentheses.  The info underneath each theatre is organized into three columns: show, my position, director.

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Students and Novice Stage Managers / Re: Are your shows safe from busses?

« on: Nov 13, 2009, 11:32 am »

I've always bus-proofed my show, but I do it even more so after have an experience similar to yours Mac.  After tech, I rewrite the cues very neatly.  I make sure it is clear on what action/word/syllable I call each cue.  At the beginning of my book I put a key to symbols because I know that some of my shorthand may not be immediately apparent, and I use a lot of shapes from a drafting template for various things.  I put a copy of my contact sheet, master calendar, and any run paperwork in sheet protectors behind my script for quick access.  My book gets left in the booth from tech on.

74

Employment / Re: Post College Employment

« on: Nov 05, 2009, 11:35 pm »

I did an internship that I greatly enjoyed at Trinity Rep in Providence right out of school.  It's a year long internship, with a small stipend and housing.  The intern is working pretty much continuously from August to May/June, so you gain lots of experience. 

75

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: What is your prep week style?

« on: Oct 23, 2009, 09:55 am »

I do most of my prep week work from the theatre.  I have a checklist that I've put together, culled from various ones that stage manager's I've worked under have used.  I approach it differently depending on if I'm working somewhere I've worked before or somewhere new.  If it is somewhere new, I have a whole list of additional questions, and I like to see the space and the backstage, the rehearsal hall, etc, before I begin any paperwork.  It just gets me into the right mindset. 

I am similar in terms of hours.  On a regular play, with an assistant, usually I am doing 5-6 hour days during prep, depending on complexity.  I almost always call my actors, but I always send out the schedule, calendar and contact sheet via email as well.