736
The Green Room / Re: Trivia Tournament III - 2.0.11
« on: Feb 03, 2011, 01:01 pm »
And I have discovered that Religion is really Christianity with the rare, occasional token reference to other belief systems. Kinda annoying....
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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737
Students and Novice Stage Managers / Re: ASM Calling the Show
« on: Feb 01, 2011, 08:11 pm »
Is this a college production? Are they trying to mimic a real-world experience? And how many shows are there?
As in a "real" production, you might rotate the SM and ASM so they each do each other's jobs for a certain number of shows, which means they both get the chance to work both types of responsibility, and may well resolve this in a fair fashion.
As in a "real" production, you might rotate the SM and ASM so they each do each other's jobs for a certain number of shows, which means they both get the chance to work both types of responsibility, and may well resolve this in a fair fashion.
738
The Green Room / Re: This one goes to Eleven!
« on: Jan 23, 2011, 10:29 pm »
congrats PSMKay - and given how many folks are still in school or were children then, I don't want to go back to where I was in the year 2000......
739
Stage Management: Plays & Musicals / Re: REHEARSAL: Sign-in Sheet for Rehearsals
« on: Jan 21, 2011, 11:58 am »
One thing no one has mentioned: SIgn in sheets are essential in spaces where you may not actually see someone in a timely manner. I work in a couple of places where the sign-in sheet is with the dressing rooms, which are a full flight down from the deck and are accessed from either side of the stage, and I am either working up 4 flights of stairs in the booth or off left, in the de facto working prop room /onstage green room. So making one trip or seeing the sign-in from top of stairs saves a lot of trips, even with a cast of one!
However, I still only do it from tech on - unless there is a specific reason.
However, I still only do it from tech on - unless there is a specific reason.
740
Employment / Re: Finding jobs in NYC
« on: Jan 21, 2011, 11:34 am »
Hello Hannah, and welcome to SMNetwork.
First of all, it is not easy to get started in NYC, especially as a new stage manager. Also, we do things a little differently here in the States so you will need a minute of transition to learn the difference before taking work here. There are things we do that you don't and vice versa, and aspects of stage management that are handled by different levels than in the UK.
I suggest you look around this site a bit and, among other things, check out some of the previous conversations on this topic - I have listed 4 of, well, many - and you can type either New York or Broadway into the search engine to see even more discussions, B'way being the mecca for so many of us.
http://smnetwork.org/forum/index.php/topic,5555.msg33853.html#msg33853
http://smnetwork.org/forum/index.php/topic,5390.msg32776.html#msg32776
http://smnetwork.org/forum/index.php/topic,4064.msg24701.html#msg24701
http://smnetwork.org/forum/index.php/topic,4291.msg33336.html#msg33336
And keep in mind, there are many, many SMs of varying experience all vying for work in NYC. You will want to start as a PA if you can get that work (your accent will take you far, as Americans are suckers for that lilting British dialect) although that, too, is precious in NY.
Good luck and let us know how it goes (and if you land in the catbird seat, there will be mass envy by those who have struggled to be noticed for too many years!)
First of all, it is not easy to get started in NYC, especially as a new stage manager. Also, we do things a little differently here in the States so you will need a minute of transition to learn the difference before taking work here. There are things we do that you don't and vice versa, and aspects of stage management that are handled by different levels than in the UK.
I suggest you look around this site a bit and, among other things, check out some of the previous conversations on this topic - I have listed 4 of, well, many - and you can type either New York or Broadway into the search engine to see even more discussions, B'way being the mecca for so many of us.
http://smnetwork.org/forum/index.php/topic,5555.msg33853.html#msg33853
http://smnetwork.org/forum/index.php/topic,5390.msg32776.html#msg32776
http://smnetwork.org/forum/index.php/topic,4064.msg24701.html#msg24701
http://smnetwork.org/forum/index.php/topic,4291.msg33336.html#msg33336
And keep in mind, there are many, many SMs of varying experience all vying for work in NYC. You will want to start as a PA if you can get that work (your accent will take you far, as Americans are suckers for that lilting British dialect) although that, too, is precious in NY.
Good luck and let us know how it goes (and if you land in the catbird seat, there will be mass envy by those who have struggled to be noticed for too many years!)
741
The Green Room / Re: Funding Shortage
« on: Jan 21, 2011, 02:52 am »
ALSO write your elected representatives (state and federal) because funding for the arts is in jeopardy everywhere right now.
742
The Hardline / Re: Equity? In this economy?
« on: Jan 17, 2011, 04:02 pm »
....Agreed!
AND, even the decent university-trained recent grads often have only worked in their school's large, state-of-the-art houses. Small and mid-sized theaters, places with minimal budgets or requiring creative problem solving (ie someplace where 2 crew members pretty much do it all - sweep and mop, wardrobe repairs and laundry, QC, props, and also handle the spot or sound etc, where the ASM stationed SR might become the extra arm on the one three-handed costume shift in a show), just doesn't enter their consciousness. Yes, we would all like production contract or LORT A wages and working conditions, and working in those settings with all the bells and whistles is an amazing experience, but unless you are the resident SM in a road house or are lucky enough to fall into the rarified circle of folks who only work Vegas or B'way, those smaller contracts / theaters comprise most of our work.
And it's frustrating for me, as well, when my (large-house university-trained otherwise capable assistant) complains mightily when she has to occasionally swap out batteries rather than the economically-challenged theater company hiring one more body who could possibly not do anything during a given show week.
AND, even the decent university-trained recent grads often have only worked in their school's large, state-of-the-art houses. Small and mid-sized theaters, places with minimal budgets or requiring creative problem solving (ie someplace where 2 crew members pretty much do it all - sweep and mop, wardrobe repairs and laundry, QC, props, and also handle the spot or sound etc, where the ASM stationed SR might become the extra arm on the one three-handed costume shift in a show), just doesn't enter their consciousness. Yes, we would all like production contract or LORT A wages and working conditions, and working in those settings with all the bells and whistles is an amazing experience, but unless you are the resident SM in a road house or are lucky enough to fall into the rarified circle of folks who only work Vegas or B'way, those smaller contracts / theaters comprise most of our work.
And it's frustrating for me, as well, when my (large-house university-trained otherwise capable assistant) complains mightily when she has to occasionally swap out batteries rather than the economically-challenged theater company hiring one more body who could possibly not do anything during a given show week.
743
The Green Room / Re: Help Please
« on: Jan 13, 2011, 01:20 am »
I don't see any avatar pictures to choose from either - tho thankfully I have mine from the old site. VSM, let me know when you see pix and I will try again.
744
The Green Room / Re: Trivia Tournament III - 2.0.11
« on: Jan 12, 2011, 03:45 pm »
I missed only the Tony Award stuff - so I don't feel too bad - but cripes, who remembers those???
745
Employment / Re: Juggling Acts
« on: Jan 09, 2011, 12:08 pm »
First of all, congrats and how wonderful on manifesting so much potential work in this challenging economy, and in a city where you are somewhat newly established.
The only additional note would be if you really really want one particular project/director/production, you might want to find a tactful phrase that relays that. Otherwise, especially as no one wants to burn bridges for future employment, until contracts are signed.... and once they are a graceful way of "wish we could'a" for the others
The only additional note would be if you really really want one particular project/director/production, you might want to find a tactful phrase that relays that. Otherwise, especially as no one wants to burn bridges for future employment, until contracts are signed.... and once they are a graceful way of "wish we could'a" for the others
746
The Green Room / set design extending into the house -
« on: Jan 02, 2011, 01:25 am »
Sort of sideways from Spidey, this article caught my eye. Interesting discussion, esp from our SM POV, about how far and how extensive the coordination of show and house -
http://artsbeat.blogs.nytimes.com/2010/12/09/theater-talkback-the-exploding-art-of-set-design/
http://artsbeat.blogs.nytimes.com/2010/12/09/theater-talkback-the-exploding-art-of-set-design/
747
The Green Room / Re: Happy New Years!! My Resolution is....
« on: Jan 01, 2011, 02:13 pm »
no resolutions here, but I am continuing to visualize a SM gig that pays a living wage, a roof that doesn't leak and a great vacation somewhere along the line.
748
Tools of the Trade / Re: Blocking Notes
« on: Dec 27, 2010, 09:57 pm »
Harrison, I get the feeling you didn't actually peek around the board, and you should. Your questions are not new, many have been answered (or not answered) numerous times in older threads. Please take the time to check out what already exists and come back with specifics - which will, I would assume, create a far more meaningful discussion, one in which many more people would be willing to engage.
And (please excuse my cynical nature but we've seen it too much here) I admit to being a bit suspicious of your claim to be a college student working in tandem with /developing computer programs for SMs without (clearly) any idea of what we do. It smells like fishing on a sales call from a pro.
Thank you
And (please excuse my cynical nature but we've seen it too much here) I admit to being a bit suspicious of your claim to be a college student working in tandem with /developing computer programs for SMs without (clearly) any idea of what we do. It smells like fishing on a sales call from a pro.
Thank you
749
The Green Room / Re: Best one-liner from a performance report
« on: Dec 26, 2010, 10:00 am »
(OT - KMuzik, I am borrowing your tag line for my new show, thanks! It's wonderful)
back to the regular absurdity....
back to the regular absurdity....
750
The Green Room / Re: Spider-Man: Turn off the Dark
« on: Dec 23, 2010, 03:25 pm »
very cogent and very good Matthew, thanks
It's hard to be the squeaky wheel, I know from bitter experience. Not counting a director who accused me publicly of thinking my job was to protect the actors. Really.
Actors will often do whatever it takes to work, and sometimes put themselves (and others) in danger rather than risk being "that person" - I've said no to a director who wanted an actor who had never, ever handled a gun to use the antique-style prop gun that had just been dropped off at the rehearsal space, and forced full gun protocol before allowing its use. The actor and director get caught up in the moment and we have to be the calm cool voice of reason that says HOLD and makes sure safety is not bypassed or rushed.
All we can do is be there, be trusted as an ear and have them know we have their backs, and for us to be willing to say no when necessary.
It's hard to be the squeaky wheel, I know from bitter experience. Not counting a director who accused me publicly of thinking my job was to protect the actors. Really.
Actors will often do whatever it takes to work, and sometimes put themselves (and others) in danger rather than risk being "that person" - I've said no to a director who wanted an actor who had never, ever handled a gun to use the antique-style prop gun that had just been dropped off at the rehearsal space, and forced full gun protocol before allowing its use. The actor and director get caught up in the moment and we have to be the calm cool voice of reason that says HOLD and makes sure safety is not bypassed or rushed.
All we can do is be there, be trusted as an ear and have them know we have their backs, and for us to be willing to say no when necessary.