Messages

676

Employment / Re: Unemployment Benefits Claims??

« on: Feb 12, 2009, 09:45 am »

Just saw this article online from the Washington Post regarding unemployment benefits and it's relevant to your post, NomieRae.  Your former employer very well could have challenged your claim hoping you wouldn't fight it so their unemployment insurance rates would not increase.  That being said it could have just as easily been an honest mistake. 

The full text is an interesting read and demonstrates in recent years a clear rise in challenges to unemployment claims.  So we should expect to see more cases like NomieRae's in the future.  Best to prepare yourself and keep the best documentation you can as to the exact terms of your employment and any potential areas where your employer could challenge your claim.

More than a quarter of people applying for such claims have their rights to the benefit challenged as employers increasingly act to block payouts to former workers.

The proportion of claims disputed by former employers and state agencies has reached record levels in recent years, according to the Labor Department numbers tallied by the Urban Institute.

Under state and federal laws, employees who are fired for misbehavior or quit voluntarily are ineligible for unemployment compensation. When jobless claims are blocked, employers save money because their unemployment insurance rates are based on the amount of the benefits their workers collect.

Full text here


Edit: fixed typo -kmc307

677

Stage Management: Plays & Musicals / Re: Sound cues: turning off actor's mic when they exit

« on: Feb 12, 2009, 08:53 am »

Similar to others I've never called mic cues either.  If there are live vocals your sound op should be mixing, not listening to com; if they've got one ear on headset and one on the mix it probably won't sound as good.

What I have done in the past, though, for sound ops who haven't been onboard for the entire process is to provide a character/scene breakdown and an entrance/exit chart.  This tells them who is on for which scenes, and where and when they're coming from or going to for a visual reference to know where to look when they're about to take a cue.

678

Students and Novice Stage Managers / Re: Student SM Challenge #5: Critical Paperwork

« on: Feb 07, 2009, 10:30 am »

Hypothetical question - how do you make a contact sheet before acquiring the actors' contact information?

Often, this information is on an audition info sheet or on their headshot/resume.  It's at least a good place to start.

But if you've been handed a show at 9pm on Sunday, will you have their headshots/resumes?

I'm just playing devils advocate here 

679

Stage Management: Plays & Musicals / Re: Spiking Periaktoi

« on: Feb 06, 2009, 08:34 am »

Are you using different colors for each position?  That would be my first recommendation if you aren't already. 

If they're still having trouble finding their marks you can try to tape the whole side, but this would likely look very tacky if any of your audience members can see the stage.  For tricky positions in the past I've started with a lot of tape, then as the performer becomes more comfortable with their mark gradually pare down the amount of tape used until you get to a "normal" spike.

680

Students and Novice Stage Managers / Re: Student SM Challenge #5: Critical Paperwork

« on: Feb 05, 2009, 03:07 pm »

Hypothetical question - how do you make a contact sheet before acquiring the actors' contact information?

681

Employment / Re: Blacklist of companies for SMs?

« on: Feb 04, 2009, 09:33 am »

I was a big fan of looking on the bright side of each bad experience in order to learn and adapt and all that.  But a few months ago I worked for quite possibly the single most horrible, terrible, evil director on the planet, and now I would pay good money to see her blacklisted, both for my own personal satisfaction and to make sure no other poor SM ends up in my situation: completely degraded, offended, taken financial advantage of, and (temporarily) rethinking her career choice. 

Screw politeness, and forget the benefit of the doubt, stage managers have a right to know.

I'd be very careful about what you say to whom.  I'm sure you already know this is an incredibly small business; word travels - quickly.  As with any situation in life, just because you don't care for someone doesn't mean that nobody cares for them.  And you never know when that director you've just badmouthed in an interview is the old college buddy of the interviewer.  While all of your comments may have been truthful, you've just talked yourself right out of a job. 

You mentioned looking on the bright side, this is a great philosophy.  And think - yes this experience was not pleasant, but I've learned x, y and z that I must do (or in some cases, must not do) moving forward to prevent a similar situation from happening in the future.

682

Articles from the Old Site / Re: Tips: Charging Glow Tape

« on: Feb 02, 2009, 01:05 pm »

Yep!  Works like a charm.

683

Stage Management: Plays & Musicals / Re: Daily rehearsal report notes

« on: Feb 01, 2009, 01:17 pm »

I see nothing wrong with distributing reports to the actors or the actors having access to the reports if that's how you choose to do business.  Yes, there will be things in the report about the actors, but there shouldn't be anything they don't already know and there shouldn't be anything you haven't already said to the actor mentioned.  

I can see how it could potentially create conflicts or drama, but it's nothing that can't be resolved ahead of time with a bit of proactive management!

684

Employment / Re: UPTAS- Little experience, and production interviews

« on: Jan 25, 2009, 11:18 am »

You can always look for people offering internships.  Also, as opposed to a formal interview this could be one of those conversations that happens at the bar at night after the day's activities are done. 

In my time at various conferences and expos I've always had more substantive conversations and gotten more meaningful business done at night than during the day.

685

Stage Management: Plays & Musicals / PROPS: Poor stage weapon practices... Another close call

« on: Jan 21, 2009, 11:30 am »

Seems these are getting more frequent.  From WFTS in Tampa, FL:

Bradenton police say Bill Bordy had borrowed a .32-caliber Smith and Wesson from a cast member to use in a scene of "Of Mice and Men."  Bordy was following the play's script when he pointed the gun at the back of the head of another actor.

He pulled the trigger and a bullet flew out of the gun, grazing actor, Fred Kellerman in the left ear.

Kellerman was taken to Manatee Memorial Hospital and was in stable condition Monday night.

Bradenton Police Lt., Darrell Akeman says the accident could have been deadly.  Akeman says no one checked the borrowed gun before the rehearsal to see if it was loaded.

Full article text here

Scary, scary stuff.  


Edit:  Made part of the news quote bold because it's seriously unbelievable that nobody said: "Hey, just for kicks, let's make sure that gun is empty"

686

Tools of the Trade / Re: Holiday SM Gifts

« on: Jan 17, 2009, 08:22 pm »

This year I got a new pixie printer (it's smaller than my laptop and I love it. It fits in my backpack with my laptop)

One of my favorite presents from last year: Spiral ring binding machine (it looks like a hole punch but is a beautiful/cheaper than binder way of binding scripts/Running packets/etc) A friend of mine loves to make logbooks for rehearsal and she now has a habit of coming to my place when she's in preproduction to make it there instead of going to staples.

Do you you have a link to this product you could share?  I'm sure a lot of folks would love to at least get a peak at it.

687

Stage Management: Plays & Musicals / Re: The unwilling crew

« on: Jan 16, 2009, 01:11 pm »

Sounds like this person needs to grow up (I'm aware that they're certainly an adult, however maturity level seems to be somewhat lacking).  Undoubtedly they were aware of the requirement to crew shows before agreeing to the apprenticeship!

688

Stage Management: Plays & Musicals / Re: Artistic Integrity?

« on: Jan 16, 2009, 09:41 am »

Frankly, as long as the check clears, I'm not as worried about "artistic integrity".  Maybe I'm cynical. 

I don't think you're being cynical at all.  It's a business and you as an independent contractor need to make decisions in the best interest of your bottom line.

689

Tools of the Trade / Re: Legal ramifications with cell phone jamming.

« on: Jan 11, 2009, 01:13 pm »

Moderator note -

I had originally locked this topic as I don't feel it's entirely prudent to give legal advice if we're less than qualified to do so.  However after some thought I've decided to let it fly.  Please know, though, that anyone undertaking this type of project should check with local/state/federal authorities or certified legal counsel about potential legal ramifications.

I've also modified the subject line for the sake of clarity.

Cheers all, happy posting!

690

Tools of the Trade / Re: Herbal cigars?

« on: Jan 08, 2009, 08:59 pm »

I did a bit of research on this and this is certainly a tricky one.

I've seen (and tried, thanks to an eager salesman) smokeless cigars.  They are battery powered and use cartridges.  They smell exactly like a real cigar, however they're made from tobacco extract that does not contain the toxins of a normal cigar.  Up close though it's fairly obvious that it's not a real cigar thanks to the non-lit tip.  Smokeless Cigar link

The smoke from this is actually a lot less aggressive on the smoker so it would be ideal for an actor.

As far as herbal cigars, I feel really sorry for the person who'd have to smoke those...  I smoke cigars occasionally and I cringe at the thought of smoking an herbal cigar, I think it would be incredibly harsh on the person's mouth, throat and lungs. 

As for hand-rolling cigars, cigars are rolled with a large tobacco leaf.  Not sure if you'd be able to find any rolling paper, but it'd likely wind up looking like a giant joint reminiscent of a Cheech & Chong movie.