Messages

76

The Hardline / Re: Just got my card with a SPT contract

« on: Feb 27, 2009, 11:25 pm »

SPT is fairly straightforward - the biggest thing to know is that although you're allowed 10 out of 12s for tech - there is no increase in hours for the week for actors or SMs.  So keep track of yours and the actors hours for the week and if you use 1 or 2 10 out of 12s - make sure it falls under the proper hours based on what level SPT you are.  Otherwise you'll go into OT for that week.

If you have any more questions - let me know - I've been working under SPT for a little while now.

77

Students and Novice Stage Managers / Re: Tech

« on: Jan 29, 2009, 06:38 pm »

It's odd but I've never really found an LD that liked paper tech because most of them don't have the cues determined until they're sitting in front of the board and you're starting tech.

I did have on LD though that would give me a script with where he wants the LQs to be before we would get into tech.  It can be useful sometimes but 9x out of 10 they all got changed anyway.

78

Students and Novice Stage Managers / Re: Tech

« on: Jan 29, 2009, 12:39 pm »

Every LD will be different - most of the ones I've worked with though seem to like going through the show cue by cue and telling you where it should be called.  Try to pay attention on the headset to the numbers as they're giving them to the programmer so they don't have to repeat themselves.  Some are very quick and just expect the SM to be paying attention.

I would also suggest try to think of places where you think LQs will be so you can get a jump on it.  Since you've been in rehearsals for the show longer than they have, you might have a good feel for where you expect changes to happen.  If you guess wrong - no harm done and you just erase it but it can make things smoother.

79

Stage Management: Plays & Musicals / Re: Reading a play for the first time

« on: Jan 18, 2009, 09:57 am »

I'm with Matthew on this one - I'll go through it for SM purposes if necessary but generally don't get involved in reading the play before the 1st read-through.  I like to have the actors voices that will be doing it go through my head as opposed to me putting my own spin on things ahead of time.  I like to give a natural 1st reaction to the reading which seems to be good for the actors.

80

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

« on: Jan 17, 2009, 09:46 am »

Despite the legal ramifications I am not sure this would be the way to go. Cellphones have become a backup com system, also if there is an emergency not all theatre have hardwired phones close by.

Maybe not, but I know there is a landline in my booth in case of emergencies.

81

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

« on: Jan 11, 2009, 01:51 pm »

That works kmc.  I was just curious if anyone else had considered something like this or had seen it used in theatres.  I've heard of it used in movie theatres and other theatres but those may just be rumors.

The issues that we encounter are the same for any theatre, idiots that forget to turn their phones off or at least to vibrate during a performance thereby interrupting the performance.

For all intents and purposes, the person would just have a No Signal display on their phone.  There are dead zones everywhere for every provider so it would probably go unnoticed.

82

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

« on: Jan 11, 2009, 01:02 pm »

http://www.dealextreme.com/details.dx/sku.4355

It blocks cell phone signals in about a 10'-40' radius and could easily solve problems in theaters.


Moderator note:  edited subject line for clarity - kmc307

83

Students and Novice Stage Managers / Re: Who is part of the crew and who is part of the creative team?

« on: Jan 09, 2009, 11:12 am »

Yeah I just separate it by Cast and Production Team.  Everyone that doesn't perform on stage falls under Production.

84

The Hardline / Re: Hardline Meal Break Expansion Thread

« on: Jan 07, 2009, 11:33 am »

I will give a general start and end time for lunch but I've bounced it around based on what we're doing at the time.  I've seen that actors like to know approximately when they're going to be eating that day so they can plan around it.  Also, it gives the director a goal time to look toward while they're doing their work.  But as long as it doesn't pass that 5-hour mark, you're ok with the changes.

85

The Hardline / Re: How did you get your card?

« on: Jan 01, 2009, 01:36 pm »

I was earning points for AEA as a Production Assistant at the Fulton Opera House in Lancaster, PA.  The Resident PSM quit theatre altogether after the 1st show of my second season.  They had someone to cover the next 2 shows but needed a new person for the the 4th show and beyond.  I had SM'd the non-AEA children's tour with them and convinced the Artistic Director I could do it.  My first show as an AEA SM was W;t and I haven't looked back.  I stayed on to SM 10 of their next 12 shows.

86

Students and Novice Stage Managers / Re: Shadowing: General Q&A

« on: Dec 27, 2008, 09:44 pm »

I didn't do it in college but had prospective students sit in the booth with me during shows.  It seemed to help as they all ended up coming to the college.  I don't see it as a bad thing and can definitely help you to see how the college runs things.

87

Students and Novice Stage Managers / Shadowing Opportunity - TheaterWorks Hartford

« on: Dec 17, 2008, 06:43 pm »

I'm the new PSM for TheaterWorks in downtown Hartford, CT. It's an SPT 10 theater and generally produces straight plays with the occasional small musical. I've spoken with management and I'd love to offer up an open-ended Operation Observation throughout the upcoming season. In addition to observing you might be given an opportunity to become an Intern with the company later in the season. We're always looking for new people to intern as an ASM, backstage crew, or even set-building.

If anyone is interested, please send me a PM and we can set something up.

Current production of The Seafarer runs through December 28th.

Thanks and I look forward to hearing from you.

Scott Pomerico
PSM TheaterWorks Hartford

88

The Hardline / Re: MILWAUKEE SHAKESPEARE CLOSING ITS DOORS

« on: Dec 16, 2008, 01:14 am »

And all of the theatrical productions turning into movies is definitely not helping either.  I'm sure the film version of Doubt will be good but as more plays go to film - audiences will stop seeing it as necessary to see the live version when they can own the DVD at home.

89

Employment / Re: CV help

« on: Nov 28, 2008, 09:06 pm »

Sorry - what's a CV?

90

The Hardline / Re: The Ever Scrutinized Straight Six

« on: Oct 20, 2008, 02:10 am »

I have had casts decline the full use of the straight six and for some shows it just doesn't work.  One in particular was a show, where one woman was onstage the entire show, really driving it and the rest of the cast on in bits and pieces...  The pace for all straight sixes was too much for her; working slower longer would have allowed her to better get a grasp on her character, relate to the other actors better, given us the freedom of more/longer breaks...

Yeah - I wasn't saying that a Straight 6 is always the best option, I don't suggest it to directors on shows where I don't think it's useful.  I've never tried it with a large musical, nor would it be useful for a show such as W;t.  Sorry if I wasn't clear with my statements.

Maybe the production manager should remind the director of AEA rules on this issue, so they don’t give you a hard time if straight six ends up not being an option.

I would love it if Production Managers or Administrations knew the AEA rules but I've yet to work at a theatre where the PM knew as much about the Rules as I did.  Be it LORT, SPT, Off-Broadway, or whatever, I've always had to explain rules to companies.  Rules that I thought were pretty standard.  Then again, I don't always know all of the rules either and anyone that's capable of memorizing the AEA Rulebooks completely must have a photographic memory.  I applaud such people.  But in the end, I think PMs, Directors, and Producers rely on the Stage Manager for rule explanations and interpretations 9 times out of 10.