721
The Green Room / Re: Facebook Group for SMNet members
« on: Oct 26, 2012, 12:30 am »
But, Kay, how do you really feel about LinkedIn?
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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722
The Hardline / Re: Deputy Elections - Chorus and Principal
« on: Oct 25, 2012, 02:38 pm »
I do think though you need to split them apart, and let them discuss issues privately in their own group . . . there are issues you don't need both groups to discuss together.
723
The Hardline / Re: Deputy Elections - Chorus and Principal
« on: Oct 24, 2012, 04:55 pm »
I think everyone is fine knowing who is on what contract.
Like if you have a mixed AEA/Non-AEA cast, it's okay they know who is AEA or Non-AEA.
Like if you have a mixed AEA/Non-AEA cast, it's okay they know who is AEA or Non-AEA.
724
Students and Novice Stage Managers / Re: Working with a fellow student SM?
« on: Oct 21, 2012, 09:58 pm »
Again, my only worry is "My ASM went and told on me to the teacher." - that's the big deal for me. Having them both have an ownership over the solution - and I think it may have a better chance at success. Now, if you immediately sense resentment when you bring up the issue, then by all means, go to teacher.
You both deserve to have a positive working experience.
(This from the pudgy gay kid who dealt with bullies one on one, without involving the teacher)
You both deserve to have a positive working experience.
(This from the pudgy gay kid who dealt with bullies one on one, without involving the teacher)
725
Students and Novice Stage Managers / Re: Working with a fellow student SM?
« on: Oct 21, 2012, 02:18 pm »
I think involving faculty or an advisor is something to do down the line; I would strongly advise you to figure out how you can improve the situation on your own - developing your own management style in interacting with another stage manager.
I know in the professional world, I would be extremely upset if an assistant of mine went to the producers to deal with an interpersonal working relationship without coming to me and us trying to work through the issue together. Just as I would expect my assistant to be upset if I went to the producer directly to deal with an interpersonal working relationship without trying to solve it among us.
At the end of the day, you both will "own" the new working relationship much better if you guys forge it on your own then have in imposed on you by a professor.
But remember, you are paying for your education - so don't be afraid to use those resources.
I know in the professional world, I would be extremely upset if an assistant of mine went to the producers to deal with an interpersonal working relationship without coming to me and us trying to work through the issue together. Just as I would expect my assistant to be upset if I went to the producer directly to deal with an interpersonal working relationship without trying to solve it among us.
At the end of the day, you both will "own" the new working relationship much better if you guys forge it on your own then have in imposed on you by a professor.
But remember, you are paying for your education - so don't be afraid to use those resources.
726
Students and Novice Stage Managers / Re: Working with a fellow student SM?
« on: Oct 20, 2012, 05:29 pm »
You know, this isn't just going to be an issue between two students; this continues to be an issue in the professional world, the problem is you don't have a lot of experience behind you to come up with great solutions to the issue at hand.
I think someone, and this is probably you, needs to point out the elephant in the room, and come together and have a conversation - perhaps accenting the issue of communication, and wanting to improve that - both ways - and find a way you can truly be working together as a team. My history in problem solving would be to keep the issues clean and separate, not about you or the other person. "I wish we were better at communicating" is better then "You need to stop hording information." Offering creative, positive, upbeat solutions that you can implement . . . may help the situation.
But, I am not Polyana-ish enough to rule out the two of you might be oil and water and there maybe no way to make this idea - you need to figure out a way to work together - but you may never like it. As the assistant, you need to accommodate the other person's style and way of working. Check the passive aggressive crap at the door, and genuinely support them. If he is not giving you the information you need to do the job, don't throw him under the bus - all you need to do is say "I am sorry, I thought I had all the notes about this set piece, apparently there are somethings they may not have gotten to me." This happens all the time.
I wish you luck, and keep us up to date.
I think someone, and this is probably you, needs to point out the elephant in the room, and come together and have a conversation - perhaps accenting the issue of communication, and wanting to improve that - both ways - and find a way you can truly be working together as a team. My history in problem solving would be to keep the issues clean and separate, not about you or the other person. "I wish we were better at communicating" is better then "You need to stop hording information." Offering creative, positive, upbeat solutions that you can implement . . . may help the situation.
But, I am not Polyana-ish enough to rule out the two of you might be oil and water and there maybe no way to make this idea - you need to figure out a way to work together - but you may never like it. As the assistant, you need to accommodate the other person's style and way of working. Check the passive aggressive crap at the door, and genuinely support them. If he is not giving you the information you need to do the job, don't throw him under the bus - all you need to do is say "I am sorry, I thought I had all the notes about this set piece, apparently there are somethings they may not have gotten to me." This happens all the time.
I wish you luck, and keep us up to date.
727
Tools of the Trade / Re: Herbal Cigarettes and other tobacco substitutes
« on: Oct 18, 2012, 01:59 pm »
You, can however, "roll your own" liquid. The vapor movement - which has some sketchy feet in with the drug movement - has a lot of information on these. So, you can take out some of the risks by controlling what is in the fluid, and your have to just judge if the mechanics is harmful in any way.
But, legality wise, for non-smoking venues, this is your only options - and like smoking itself, the actor needs to make an informed decision about exposing themselves to this.
But, legality wise, for non-smoking venues, this is your only options - and like smoking itself, the actor needs to make an informed decision about exposing themselves to this.
728
Employment / Re: More on juggling: guilt and rejection
« on: Oct 17, 2012, 07:22 am »Quote
There's no offer, but the company has been very specific to let you know they are NOT looking at anyone else for the position. Things should firm things up in several weeks. Let's say that you really want this job, but you also realize that... well, there's no offer. Let's also say for the sake of simplicity that the theater circuit is small, and if you are talking with others word WILL get around. To me, although practical, it feels somewhat rude to go out looking for something else. But if I'm understanding correctly, in the theater world, "always looking" is totally expected - it's normal and there are no hard feelings about continuing to be on the market... Is it so?
If you feel confident the job is going to come thru, and risk being unemployed for that time if the job falls through, then stop looking.
But something as simple as "I would love to work on this project, let me know when you are ready to offer me the contract, and I will stop looking for other work" could express I the idea I love Job A, want Job A, but until I sign I contract . . . .
730
Employment / Re: More on juggling: guilt and rejection
« on: Oct 16, 2012, 09:55 am »Quote
Also, somewhat related: when do you stop "looking"/applying for other jobs or take yourself off the market? Is it when you get an interview? When you get the call that you're the final candidate? When you have a verbal agreement? When you have a contract? I usually like to focus on things I'm interested in, but I know that anything can happen...
I keep a calendar for the next 18 months on my computer. When I am contacted or contact a company about a gig, I put a "hold" on that time, so if other things pop up that may overlap with that time period, I contact Company A and say, hey, have you made a decision yet - because Company B is offering me something that conflicts.
I NEVER take myself on the market - a show can fall through, a better/longer offer can come through, etc, etc . . . I am constantly talking to people. But, once a signed contract comes into the picture, then I market myself accordingly . . .
I too hate turning down jobs, and I also never stop applying for jobs . . . as long as I can do it - I will apply for it . . . I never waste the producer's time by interviewing for a job I can't take . . . but would be honest . . . "I have a contract the conflicts with the pre-production week, but my producer is willing to let me out of my contract that week for this better paying / more high profile gig."
731
Uploaded Forms / Re: Reports and minutes (Performance, Rehearsal, meetings)
« on: Oct 15, 2012, 05:25 pm »
Here is my current production report (what most people call rehearsal report) and a performance report.
These forms have evolved and be added to and subtracted to over the past couple of years - so, I can't say it all came form my mind, but from the hive mind . . .
These forms have evolved and be added to and subtracted to over the past couple of years - so, I can't say it all came form my mind, but from the hive mind . . .
732
Stage Management: Plays & Musicals / Re: NOTING A PERFORMANCE: How do you maintain a show?
« on: Oct 15, 2012, 02:42 pm »
I have a multi-level process in maintaining a show.
After I call half-hour, I make eye contact with every actor, say hellos, and check in with them and see if they have any questions form the notes I gave based on the last performance. But the most important thing, I am there in person - and easily step out of the room for private conversations.
At the end of the show, my assistant goes around and touches bases with each actor. (In my years of experience, I have learned that there are notes people will give to the SM and their notes they give to the ASM.)
We start this process in tech. It's good to start the communication flowing. (In tech/previews, it's good to see if the cast has notes to put into the schedule for the next day...)
The new thing I do is send out a daily report for the actors.
It includes all the run times, and house count form the show we just did, plus the run times from the previous day's show. Includes the schedule for the next day.
Then there are general notes - or notes from specific scenes or groups of people.
Good pace on the first scene. 1.3, remember although it's secret, the audience still needs to hear you. We will discuss what went awry in the battle tomorrow at fight call.
And then I send out specific notes individually to cast members.
And I will let you know there is 60/40 split - 60 praise notes, 40 you are out of your light notes.
(I do this as I know have done three shows in a row with a cast that check's emails daily (I get notes via email and text during the show).
But this way I am presenting the cast with three times for notes to be exchanged (both given and/or taken) - two in person, and one just a reply away.
And as always, they can call me.
At first, we deal with perhaps too much input of notes from the cast, but trust me, it levels off . . . and I thrive in the atmosphere we were all talk to each other.
After I call half-hour, I make eye contact with every actor, say hellos, and check in with them and see if they have any questions form the notes I gave based on the last performance. But the most important thing, I am there in person - and easily step out of the room for private conversations.
At the end of the show, my assistant goes around and touches bases with each actor. (In my years of experience, I have learned that there are notes people will give to the SM and their notes they give to the ASM.)
We start this process in tech. It's good to start the communication flowing. (In tech/previews, it's good to see if the cast has notes to put into the schedule for the next day...)
The new thing I do is send out a daily report for the actors.
It includes all the run times, and house count form the show we just did, plus the run times from the previous day's show. Includes the schedule for the next day.
Then there are general notes - or notes from specific scenes or groups of people.
Good pace on the first scene. 1.3, remember although it's secret, the audience still needs to hear you. We will discuss what went awry in the battle tomorrow at fight call.
And then I send out specific notes individually to cast members.
And I will let you know there is 60/40 split - 60 praise notes, 40 you are out of your light notes.
(I do this as I know have done three shows in a row with a cast that check's emails daily (I get notes via email and text during the show).
But this way I am presenting the cast with three times for notes to be exchanged (both given and/or taken) - two in person, and one just a reply away.
And as always, they can call me.
At first, we deal with perhaps too much input of notes from the cast, but trust me, it levels off . . . and I thrive in the atmosphere we were all talk to each other.
733
Stage Management: Plays & Musicals / Re: NOTING A PERFORMANCE: How do you maintain a show?
« on: Oct 15, 2012, 08:18 am »Quote
Related question: If you were "stage manager zero" on a show that went on to a long run, how would you feel about a new SM on the gig calling you a few years down the road for pointers? Would you be willing to talk about it? Would you expect to be paid for the consultation? How about if you left the show under less-than-favorable circumstances, would you feel the same way?
I have been in the position, where I left the show, and two years later it was still running. I has also passed on shows to other theaters. I don't mind taking the time to answer question questions about the show to the other stage managers. Professional courtesy, no fee would be applied. If I left under less-than-favorable circumstances I guess it depends on who's end - but I think again, it's a professional courtesy.
734
Stage Management: Plays & Musicals / Re: ARTICLE: Stage Managers using a paperless process
« on: Oct 14, 2012, 06:31 pm »
I would be interested to know how the technology makes your job easier? I am not sure any of the paperwork is the "hard" part of my job. But, I would like to hear about what is easier about taking blocking on an ipad versus handwriting. Or is it just cooler? Do you feel like you get more done with the e-version of something, rather then hand written copy?
I am unsure why there is a push to go paperless, unless it is just to it or the "green" aspect of it . . . although theater itself is so inherently not-a-green industry.
I think if you are working with an entirely young team and staff, you can probably get away with it - but if you were to find yourself in the professional world, with a wide variety of people, you may have to adjust your style a bit (like we all do) - when dealing with people who are more or less technically savvy then you - I know designers or shop heads I need to call, and read them the report, even though they get the email.
I think the technology is great - but we shouldn't get all wrapped up in - - - I still find the paperwork is only 25% of the hard part of my job. There is still no iphone app that makes me deal with actors better, or deal with difficult designers, or directors who refuse to do their homework.
I am unsure why there is a push to go paperless, unless it is just to it or the "green" aspect of it . . . although theater itself is so inherently not-a-green industry.
I think if you are working with an entirely young team and staff, you can probably get away with it - but if you were to find yourself in the professional world, with a wide variety of people, you may have to adjust your style a bit (like we all do) - when dealing with people who are more or less technically savvy then you - I know designers or shop heads I need to call, and read them the report, even though they get the email.
I think the technology is great - but we shouldn't get all wrapped up in - - - I still find the paperwork is only 25% of the hard part of my job. There is still no iphone app that makes me deal with actors better, or deal with difficult designers, or directors who refuse to do their homework.
735
Stage Management: Plays & Musicals / Re: ARTICLE: Stage Managers using a paperless process
« on: Oct 14, 2012, 02:26 pm »Quote
I started SMing without paper and have never looked back. I am junior in high school and have Stage managed 7 shows (not including 1 more for a community theater) and have used my iPad as my main device. I use pages to type up the script, export it as a PDF to Iannotate, and use Iannotate for blocking, lights, sound, flies, etc... I also use pages for a rehearsal schedule and just email it out to the cast. Everyone in the cast has a smartphone and receives my daily emails quickly. My style, without paper, has never had an issue. From what I see, if other highschools have SMs like me, the sm world will soon be paperless
What happens if a cast member doesn't have a smart phone?
What happens if you have to hand a show off to another SM who doesn't have a iPad? Or a different tablet computer?
What happens when you drop your ipad?
Or the battery goes out?
Do you keep your iPad in the booth at all times? In case you don't show up?
I would not feel comfortable working with an assistant who was entirely paperless and completely digital . . . but again, this is a generational different and depends on the project.
I worry about a stage management style that is too specifically tied to one kind of technology (Apple for example, which I am moving away from due to their high cost, limited upgradable options, ties to the app store), or technology that doesn't play well each other. I also don't want to impose any sort of technology requirements on my team - if I required every ASM I had to have an iPad, then I better offer to buy them an iPad.
I want team members that are interchangeable - who can jump on different tasks. If someone is taking blocking on a iPad, and they need to go to another rehearsal room, then I am stuck without the blocking . . . again, I want everyone to be able to do everything. Have a paper blocking script is easy to hand off to someone else.
I will also re-state something I said before, iPads, laptops, etc - are tools that have multi-functions, and that is how we interact with them. If I want to focus, sometimes shutting the laptop, turning off the electronic device allows me to focus on the room - and take notes on a note pad, without being distracting by incoming emails or text messages. It's easy to get drawn in on a computer or tablet, and distracted from the tasks at hand and what's going on in the room. Also, I know, when working directly to the computer - for example when I tech directly into a file - I spend more time making it look perfect, then I do with a pencil and an eraser. Which can actually slow me down.
Again, I think the technology is a tool but never should be a requirement for the job.