Messages

736

Stage Management: Plays & Musicals / Re: flying rings - any suggestions?

« on: Oct 14, 2012, 12:14 am »

Here are some suggestions

http://www.amazon.com/Ring-Adjuster-Guard-Cuddler-Insert/sim/B000P1TL68/2

After I lost 150 pounds, I had to add a guard to my engagement/wedding ring.

They can be temporary, and removed.

737

Stage Management: Plays & Musicals / Re: ARTICLE: Stage Managers using a paperless process

« on: Oct 13, 2012, 12:37 am »

I think that every generation of stage managers will start adopting new technology.

I would never call off a computer, without a paper back up - I would be nervous about not having that.  (Although, on my current show, I did tech directly on the computer, and called large sections of tech off the computer.)

Next generation may feel very comfortable doing everything on paper.

I have a slight worry that specific software, operating systems, etc will dictate stage managers using them to work for a specific company.

What I dislike, again, is that it makes stage management seem like it's just paperwork . . . when reality, we are about managing people, as well the information.

738

Stage Management: Plays & Musicals / RUNNING: How do you maintain and note performances?

« on: Oct 11, 2012, 09:46 am »

For a wide variety of reasons, the topic of maintaining a show over a run (short and long) is something I have been talking about for a while.

There are a lot a challenges in maintaining a show, but most of the time it is part of our job.  I have been changing the way I tech and note performances with an eye of working out the muscles of being more assertive in the way I note shows, but I am interested in hearing more takes about how you maintain a show.  And I am especially interested in those who have had to maintain a performance, where for whatever reason, they were weren't privy to the director's notes to the actors.

Thoughts?  Ideas?

Edit to subject line-Rebbe

739

Employment / Re: Corporate Events

« on: Oct 10, 2012, 05:01 pm »

These tend to be hugely coveted jobs (often more so then Broadway gigs) because of the money and the relatively little time commitment (i had a friend do 3 weeks in Milan at 5,000 a week - but 3 months planning).  The best is do research into those production companies the produce them in the area you are now, and get your feet wet - they aren't for everyone.  Also, this is one of those areas where having a tie with an agent or agency helps, and there are production groups (directors, choreographers, stage mangers, designers) that travel in packs. 

But again, almost all regions have one or two of production companies that do industrials / corporate events.

740

The Hardline / Re: Showcase Costume Fittings

« on: Oct 06, 2012, 07:20 pm »

Babens . . . there was no way to follow that logic in the original post.  I did not complete the thought. 

When scheduling complicated shows and when you have to think outside of the box, you can assign people different spans of day, especially for those things you don't need to be present for - Costume Fittings, Press Events, etc.  As long as each individual is following the rules, you are fine.

It is sad that some of the agreements don't have things like span of rehearsal hours or span of work day, but hopefully there are other rules in place to get producers from abusing those who are working under those agreements.

741

The Hardline / Re: Showcase Costume Fittings

« on: Oct 06, 2012, 10:57 am »

Sorry, yes, there is 12 hour span per actor, what I was saying in my head and didn't do a very good job online, is that the span of day for a show can be more than 12 . . . as long as any individual actor doesn't cross over the 12 hour span of day or 12 hour turn around.  (Don't don't drink and post)

742

The Green Room / STAGE MANAGEMENT IN THE PRESS - More about Rebecca

« on: Oct 06, 2012, 10:46 am »

http://theater.nytimes.com/2012/10/06/theater/failure-of-musical-rebecca-costs-more-than-money.html

743

The Hardline / Re: Showcase Costume Fittings

« on: Oct 04, 2012, 07:13 pm »

But it still seems if you are allowed X number of hours for rehearsal, and want to schedule a 1 hour costume fitting, that actor can only rehearse x-1 hours.

One of the biggest things to wrap you ahead around on the span of day rules is rehearsal terms like 7 out of 8 versus work day rules - which is where span of day add in.

Even on the LORT contract, there is no span of day rule, it is 12 hours by default, since you need a 12 hour turn around, but you can schedule a 13 hour span of day if you are pushing back your start time an hour.

It's how you can do costume fittings at 10:00a, 11:00a, 12:00n and then rehearse 1:00p - 10:00p with an 8 out of ten hour rehearsal span.

As long as the costume fititngs but up against the rehearsal hours, you are fine (And as long as other break considerations are in play).

Again, I think you are safe and sane in treating the showcase agreement of rehearsal hours to be the pool of hours all work must come out of . . . unless AEA says otherwise. 

744

Stage Management: Plays & Musicals / Re: NEW WORKS: Distributing script changes

« on: Oct 03, 2012, 09:57 am »

I have noted all changes in the performance report on a daily basis, and sent designers new scripts at the end of the week.

I also have an team member keep a change log, which notes date and all changes.  We distribute the change list to actors on a daily basis.  The change log can be a hard copy in their mail box and/or via e-mail at the end of the night.

We only issue new pages if there is a significant changes, major re-ordering, and added material.  New pages are issue with the change list. 

I always print out a new page, regardless of the simplicity of the change, for my script.

Also, talk to the designers - some don't need a new or current script until tech.  (Lighting designers for example, don't often keep track of daily changes.)

I prefer the AD or someone from Literary handle changes - - - especially on a new work, given future possibility of a show - but if I have the resources, I don't mind doing it - but often, you can end up spending an hour or so dealing with the script changes.

745

The Hardline / Re: Showcase Costume Fittings

« on: Oct 02, 2012, 09:43 pm »

Since there no specific language about costume fittings, nor conversation about work hours versus rehearsal hours, I think you should assume that all work hours need to come out of the rehearsal hours, unless AEA says otherwise.

Please share your answer.

746

Employment / ARTICLE: How Can I Make Good Impressions and Get Noticed Without Being Annoying?

« on: Oct 02, 2012, 03:06 pm »

Link  . . .
http://lifehacker.com/5948220/how-can-i-make-good-impressions-and-get-noticed-without-being-annoying

747

The Green Room / Re: Relief from insomnia

« on: Sep 28, 2012, 01:21 pm »

Also, discuss this with your doctor - sleep disorders, even slight ones, can be a symptom of a variety of health concerns.

I know that my sleep disorder lead me down a path of figuring a host of minor health concerns - - - just getting to sleep is a problem, but if there are other issues - solving them might be a better route. 

Not a quick help, I know . . . but health is for the long run.

748

The Green Room / Re: Reviews

« on: Sep 27, 2012, 08:04 pm »

I just pray I get mentioned in the box at the bottom where it lists the cast and design team.

749

Employment / Re: Resume Format

« on: Sep 27, 2012, 08:03 pm »

To re-state some of my previous comments abouts references.

Unless it states in the ad for references, I would not include them.  It will take up valuable resumes space.  (Although on my C.V. version of my resume, I do have all my references and then some.).

Putting references available upon request seems odd . . . who wouldn't provide references upon request?

When I hire, references tend to be the last people I contact.  I know they are going to say positive things about you (unless you are pretty dim and put someone who is going to speak crap about you on you resume).  I am going to network based on people I know and you know (things like LinkedIn and Facebook are great for figuring these things out - who do I know that work at that theater you worked at).  The only time I have lengthy conversations with a reference is when I am considering a canidate for a position above their proven level - for educational positions, or moving a PA up to ASM - for example.

I think it's vital to contact the reference and ask them how they want to be contacted.  I, for example, will never give a reference over e-mail other then to confirm dates of employment.  I only will give a reference if I can engage in a conversation with the person who asks for the reference.  (But I also am very careful who I agree to serve as a reference for.)

750

The Green Room / Re: Reviews

« on: Sep 26, 2012, 07:12 pm »

I have been mentioned but mostly in general if there show was technically complex, but never by name.

My feeling is that stage management should be pretty invisible - and if I was called out either pro or con, I would feel very awkward.