Messages

61

Stage Management: Plays & Musicals / Re: "We have a 45 minute hold for the Obamas."

« on: Jun 05, 2009, 04:54 pm »

I've been in two situations where company vehicles full of actors have hit massive traffic enroute to the theatre.  In one case we held about 20 minutes, in another a full 55 minutes.  Thankfully in the second case, the author was present to do a talkback, and we put him onstage for some Q & A.  FOH also opened the bar.

62

Stage Management: Plays & Musicals / Re: Rental set dilemma

« on: May 20, 2009, 04:17 pm »

Thanks to everyone for your input.  I followed my gut and contacted Director #1, telling him that I was approached to help on this project as a casual favor to a friend, asking if he was ok with this arrangement, and, if he wasn't, assuring him that I hadn't yet given them any info, and would not.

I am so glad I followed this course of action.  Director #1 was very gracious and appreciative of my consideration for his intellectual property, and asked that I refrain from giving any production info to Team #2.  Easy enough.  I told my friend I couldn't help him out.  Case closed.

63

Tools of the Trade / Re: mobile printer

« on: May 15, 2009, 10:53 am »

I was in the market for a portable printer two years ago, and I ended up with the Canon.  The HP portable printer I looked at was not portable enough for me.  It was significantly thicker and heavier than the Canon. 

I recommend going to an actual store and checking out the HP in person before you buy.  Some things to consider: how will you be transporting it?  In a backpack on subways, or do you drive to work every day?  Lots of flying?  How heavy is your laptop, because presumably you'll always have the laptop when you have the printer?  These types of questions can clarify how small or light you need the printer to be. 

64

Stage Management: Plays & Musicals / Re: Rental set dilemma

« on: May 05, 2009, 10:29 pm »

Yes, this next production that I'm consulting on is for the same show.

Overall I wouldn't be too concerned, if they wanted a completely original concept they wouldn't have rented a set....

Perhaps I should clarify my concern here...my concern is that I'm somehow helping director #2 inadvertently use/borrow/steal the creative choices of Director #1.  Director #2, of course, by using a rented set, is accepting the choices made by someone else. 

My main concern lies in Director #1.  He knew this set would be rented beyond his production, but I doubt he expected the next director to have access to the sort of info I have (including shift plots, scene by scenes, even staging tricks to mask scenic moves, etc.) which are connected to his vision of the show.  I'm thinking of sending Director #1 an email, letting him know that I've been enlisted to this end, and see how he feels about it.  I do not want to jeopardize my relationship with him in order to forge a new one with another director. 

Having clarified my concerns, I'd love additional feedback...am I over-thinking this?  Does this sort of thing happen in the business more often than I'm aware? 

Thanks for any additional input.

65

Stage Management: Plays & Musicals / COMMUNICATION: Rental set dilemma

« on: May 01, 2009, 11:29 am »

I worked on a show last year with a set that is now being rented out to other companies.  A work colleague is in prep for a show that will being using this set, and has asked me to meet with the director to help him understand the way the set functions.  (My colleague is on the creative staff, not an SM and they have been having trouble getting clear information from the rental company).  I said I'd be happy to help, as its a good contact for me to make, but I'm starting to wonder if I'm betraying someone here.  

The set itself is not a straight-forward location or scene specific set.  Rather, it has several components that are arranged and re-arranged through out the show to create new environments.  The set has specific "tricks" and ways the units hook together, which ultimately put the pieces together in a way that supported my director / scenic designer's concept.  So my question is this:  how much information is appropriate for me to provide to this new creative team?  How the set functions, but not what scenes each configuration was used for?  Or is it ok to give scene-by-scene information, since its directly tied into how the units are built and operate?

In all honesty, I'm concerned that I may accidentally enable a director to steal some of the work of another director.  I don't think that is the intention of the director, but I fear it nonetheless and don't want to jeopardize my relationship with the first director in the process.  Any thoughts?

66

Employment / For employers: When do you call references?

« on: Sep 01, 2008, 02:07 pm »

I'm curious when during the hiring process you call references?  Is it part of your resume-vetting process pre-interviews, or do you wait to call references until after you've meet and interviewed a candidate? 

67

Stage Management: Plays & Musicals / TOURS: Tips for Packing?

« on: Jul 16, 2008, 09:02 am »

I'm going out on a short-term tour (6 weeks), and thought I'd start a general thread about with tried-and-true advice for packing.  Between the touring SMs, the SMs who move from one location to another for a job, and the savvy world-travelers among us, we could accumulate a million different little tips.

What's your favorite type of luggage?  For those of you who have toured, how much clothing does one need to travel with (its going to be hot everywhere I go, so its a little simpler for me because I don't have to pack for multiple climates)?  Anything that should be left behind, because it never makes it out of your suitcase?  Must-haves for your carry-on?  Tips for easy in and out of different hotels, keeping clothes from wrinkling, etc?  

You get the idea.  Let's get packing...

68

Tools of the Trade / Re: Headset Side

« on: Apr 16, 2008, 01:22 am »

My headset is always on my left ear, but its not a personal choice - I can't hear out of my right ear.  During tech, actors and crew try to whisper into my open ear, and are baffled when I turn my whole head to give them my headset-ear. 

69

Employment / Re: North Shore Music Theatre

« on: Feb 15, 2008, 10:13 pm »

Pretty sure its COST.  You can double-check through the Theatre Directory on the Equity website.

70

Employment / Re: Seeking Stage Management Fellowship

« on: Jan 30, 2008, 07:05 pm »

Check out McCarter Theatre's internship program.  I believe they have two SM internships: one with the Mainstage SM dept, one that splits time between the Mainstage and the education dept. (that intern SMs a TYA-type tour in the Spring).

I know they provide housing and a $75 weekly stipend.  Its a great company, with great contacts.  And Princeton is a great town to live in.

71

The Hardline / Re: AEA as PA

« on: Nov 24, 2007, 01:47 pm »

I did this once.  By the 3rd day of rehearsal, the PSM had negotiated with the producer to give me a proper Equity contract, because I was doing the work of an ASM.  It worked out nicely for me...I got huge salary increase from the PA pay, overtime, my health weeks, and I got to run the deck for the entirety of the run. Of course, then we didn't have an actual PA for most of rehearsals, so I dabbled in both...making coffee and running errands while tracking props and calling the shops with modifications. 

To answer Matthew's question about the psychology of doing this, of being willing to work "beneath" myself:  I volunteered for the position when a PSM that I've worked with told me he was looking to fill the slot.  It was a huge musical with lots of scenery, I had never worked on such a big show, and wanted a chance to see "how it was done".  I had worked on musicals before, but none were so complicated.  In all honesty, I didn't have the confidence in myself to think I could pull it off as an assistant.  I was actually really excited to watch tech from the house, watch the PSM run tech and assist with his end of things.  Since going Equity, I had always been an ASM, and therefore, felt a little removed from the FOH experience of tech.  I saw it as a great learning opportunity, and a way to metaphorically get my feet wet on a huge show. 

72

The Hardline / Re: A dance gig vs. Equity

« on: Nov 07, 2007, 10:02 am »

To address Centura's question: they have used Equity SMs in the past. 

Thanks to all who have posted.  With this discussion in mind, I'm going to take the work without contacting Equity, since it seems to be a kosher situation.  What a relief that I can take the job! 

73

Employment / Cover letter to GM

« on: Nov 07, 2007, 09:58 am »

Having written many different cover letters, each tailored to the production and recipient, I'm struggling with my latest, to a NY general manager.  In all honesty, I haven't worked with many general managers, and I don't know what skills/accomplishments/attributes I should highlight in my resume.  That is, I don't know what a GM is looking for in a new stage management candidate. 

So here's my question / starting point of this discussion:  Do you change the type of information you include, based on the position of the recipient (I certainly do)?  What sorts of information do you include in your cover to a GM?  What are GMs generally looking for in a SM? 

74

The Hardline / A dance gig vs. Equity

« on: Nov 01, 2007, 10:36 pm »

I've worked for a LORT theatre that, during the summer, brings in a dance production.  The theatre staffs the production (all tech: crew, stage management, etc are paid through the theatre payroll). I've been offered a job for next summer, but wonder: is it legit for me to work as an SM on said show?  I know Equity doesn't have jurisdiction over dance, but, since the theatre itself is Equity (and the producer, or at least, co-producer) ...it seems a little murky. 

I know, I know.  Call Equity.  In all honesty, I don't want to raise eyebrows if this is an already acceptable situation. 

75

Stage Management: Plays & Musicals / Re: Snappy SM

« on: Oct 18, 2007, 10:12 pm »

(An ASMs perspective): Grin and bare it. 

In this profession, any number of people are going to snap at you, even the very best stage managers (under the worst circumstances, of course).   It comes with the territory. Sometimes its justified, sometimes its not.  But its NOT valuable to waste your energy assigning blame.