Messages

76

Stage Management: Plays & Musicals / Re: TECH: Paper Tech

« on: Mar 23, 2012, 10:25 pm »

Usually I dry tech or paper tech at best. Often I will, as hbelden does, paper tech on my own, with cues I have questions about noted. Sometimes I can wrap up the 'paper tech,' read: get my questions about the cue sheets answered during costume half hour. Addressing each cue, at least myself,  before the start of tech is something that I think is really important for my process.

77

Stage Management: Other / Re: Opera tips

« on: Mar 20, 2012, 07:11 pm »

We've been having a hard time finding any mass quantities of Riccola, free, discounted, or otherwise. Could you post or PM a link? We're buying cough drops twice a week!

78

Self-Promotion / Re: As You Like It

« on: Mar 08, 2012, 07:18 pm »

Congrats! This sounds amazing!

79

Stage Management: Plays & Musicals / Re: PROPS: Prop Recipe Exchange

« on: Feb 28, 2012, 07:22 pm »

I'm looking to mix something the color of Sherry for an opera, but the singer doesn't want flavor, so no caramel coloring. Has anyone mixed anything that dark with just food coloring?

80

Employment / Re: Websites

« on: Feb 01, 2012, 09:33 pm »

I use rapid weaver. It can be as drag and drop as you need it to be, but it's a little more versatile than iWeb was.

81

Students and Novice Stage Managers / Re: "Senior Showcase"

« on: Jan 16, 2012, 06:11 pm »

Matt, speed-dating works the same way in job interviews as it does in actual dating. You spend 5-10 minutes with each potential employer and they, in turn, spend 5-10 minutes with each candidate.

82

The Green Room / Re: Hurricane Irene and your Company's plans

« on: Aug 27, 2011, 07:29 pm »

Good luck Dramachic!

83

The Green Room / Re: Your tattoo stories

« on: Aug 23, 2011, 01:38 pm »

I have four, which sounds like a lot. I have two relatively small ones that are nestled into each other on my wrist. My sister and I both have tattoos in each others handwriting that say lybs (which is something we've said to each other all our lives: it stands for love you big sister or love you baby sister, respectively). People either think it's adorable or really silly. The second one that is nested underneath says LB, which stands for little brother in my handwriting, so both siblings were represented.

Then I have a bigger one on my other wrist that says "If life is a bag joke, the only basis of understanding is art" and then has a symbol underneath that I drew for myself that is a kind of stylized drama mask. The quote is from Tristan Tzara's manifesto for theatre.

My last tattoo is on my side and is a single element from Kandinsky's Composition VIII, my favorite painting. If you know the painting, its the big curvy line with the thin line through it.

All of my employers have been cool with my visible tattoos because they represent a passion for what I do and loving my family. Values that clients tend to be pretty cool with, but all I have to do is put on a black sweater and I'm good to go!

I want to get one last tattoo on my foot that's a Vonnegut quote. I just can't quite pick my favorite!

84

The Hardline / Re: AEA Application?

« on: Aug 22, 2011, 12:47 am »

Thanks, guys! I'm working with a first time AEA producer, so I think things are happening a little out of order. Glad to know which direction to be going!

85

The Hardline / AEA Application?

« on: Aug 21, 2011, 09:43 pm »

Quick question. I was offered my first AEA contract (woo!) and I accepted it, but I can't find the application on the website to submit to AEA. Obviously I'll call tomorrow if I can't locate it, but I was wondering if anyone had any insight as to where to find it. Thanks!

86

Students and Novice Stage Managers / Re: Business Cards For Students

« on: Aug 19, 2011, 11:45 pm »

I order my cards from vistaprint and they haven't included the vistaprint logo on the back in about 4 years or so. I don't think it's even an option anymore. It's worth checking out!

87

The Green Room / Re: ARTICLE: 5 Reasons To Keep A Work Diary

« on: Aug 02, 2011, 02:05 pm »

I do keep one, but it's not a daily journal. At the end of a show or gig, I write an entry with the names of people I worked with, things I learned, things that went well, things to improve on, and things to remember if I work with that company or those people again. Going over it each time I write a new entry helps me see where I've been growing and reflect on the specific challenges I did or did not overcome on specific projects.

It's also super helpful to review the journal before job interviews. Then names and locations are fresh in my mind and it makes questions about things like solving a problem, shows that went particularly well or poorly, and strengths/weaknesses much easier to answer without sounding over-rehearsed.

88

The Hardline / Going Equity 'Young'

« on: Jul 19, 2011, 10:22 am »

I couldn't find a thread that addressed my specific question, but please let me know if I missed one.

I'm in need of a little perspective from people on the other end of the decision to go AEA 'young', or not. Does anyone have anecdotal information about what happened to them when they went (or decided not to go) union in their early 20s?

89

Students and Novice Stage Managers / Re: Summer Internships

« on: Feb 14, 2011, 06:59 pm »

Hi Mike! Great to see you getting started so quickly on the boards. Just FYI, there are a ton of threads about internships on the site already. One of the longest ones is the one below, but I recommend seeing what you turn up in the search box up at the top of the page. Then you should feel free to ask any followup questions that come up here! I'm sure people will have new insight, but I don't want you to miss out on the great resources already in place.

http://smnetwork.org/forum/index.php/topic,2904.0.html

Welcome to the boards!

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Students and Novice Stage Managers / Re: Should it be curtains for "Curtains!" actress?

« on: Feb 07, 2011, 03:05 am »

I did a show in college with an actor that would not learn his lines. We replaced him two days before opening because he was so unwilling to address the problem. The understudy we put in knew the lines fairly well, but this was a student run production, so he wasn't expected to be 100% off book. He ended up actually carrying his script onstage bound in another book, but the change in attitude and sense of camaraderie among the 4 person cast was so improved by removing the element that was fighting against them. And the show was actually excellent because of it. The student director and I had to do a lot recon to figure out how the rest of the cast felt before we took that action, but in the end the reluctance to commit was a bigger issue than knowing lines. It's important to figure out how other people are reacting to the issues with this actor; if the resentment is at a level that it's impacting the show, I think it's on her.