Messages

76

The Hardline / Re: Stage Manager's relationship with IATSE or union stagehands/crew?

« on: Dec 17, 2014, 02:26 pm »

It may depend on the company.

Generally all calls for IA are set through your company's Production Manager/Technical Director.

For those that are IA, they are registered with the local with their certain skill sets that determine what departments they can work in, and are generally ranked within those departments (at least with the locals that work for me). If they aren't classified as a rigger, they won't be booked as a rigger for a job, etc.

Your PM will place the call with the local, asking for a certain number of Carpenters, Props people, Electricians (breaking down into board ops, spot ops and deck elex), etc. The union rep puts the call out to the local (now they have a new online system, which makes it much easier than before) and members decide whether or not to take the call.

My company has a specific set of department heads that are part of our local, and they always work our shows. As the heads of their departments, once the IA call is filled, the heads decide who will do what within their departments. That is not stage management (or even the PM's choice). They know their fellow members and know their strengths and where they will excel best.

As stage management, my ASM makes the run sheets for the rail, carpenters, props and the deck electricians (after consulting with the LD and our Master Electrician). I make the spot sheets, as we don't have an ALD. My ASM and I consult on cue numbers and cue light colors to make sure what I'm calling/flipping matches the paperwork she gives the crew.

Department heads assign crew members to the tasks on the run sheets, and my ASM and PA take note as to who is doing what and if additional people were needed for a certain shift, etc - in the very likely chance that we do this production again.

As stage management, we call breaks, and we must be aware of the IA rules for the crew's breaktime as well. Generally, I prefer to call "Universal 10's" - so that my dancers and crew take a break at the same time. If that is not possible, I make sure that after the shift is complete, the crew get their required break (which is not as strict as my dancer's union breaks) after their work is done, and we just bring the dancers back for notes in work lights until the crew is ready.

Because PM's make a budget for shows, changing a crew member's call time is something that you need to discuss with the PM. Depending on your company's or the venue's contract with IA (whichever one you are working under) IA will have varying minimum calls (either 4 or 8 hours a day), and if you are not versed in the contract, you could be making a costly decision.

Hopefully that answered your question. And if not, we do have some members on here that are members of IATSE - maybe they can offer more insight.

77

Stage Management: Plays & Musicals / Re: Preshow Music Copyright

« on: Dec 05, 2014, 03:29 am »

At the ballet we use ASCAP quite often when using recorded music.

I do remember a theatrical PM telling me once that you could pay a fee to a label and use any artist in their roster. He may have been referring to ASCAP, but this is fairly common, and professional theaters tend to be aware of this.

With that in mind, I have come across smaller ballet companies, while professional, choose to ignore music rights. Their runs are short, and basically they perform to recorded music and do it until they get a cease and desist letter - should the artist or label find out. Not the best method, but it's not uncommon.

78

December Madness 2 / Re: APPS Round 1: Dropbox vs Text Messaging

« on: Dec 04, 2014, 12:59 am »

To me, this is the ultimate app throw down. For my team, these two items are two of our most important aides.

I have a paid Dropbox account, and I connect my staff through the network to my computer, by doing so, no one is in the same file at the same time, creating conflicted copies. This has created a HUGE plus in the previous ways I had been using Dropbox. Also, I am linked to my PM, Assoc AD and other Senior Staff members through various shared folders to get projects done quickly and effectively (until one of them runs out of free space).

Texting is major, even moreso in the past few days as we incorporated students into our company rehearsals. My ASM would text me the missing students from our 4th floor studio while I sat in our mezzanine office and called parents. (Linked with the iMessage app on my laptop, I could write her back while calling parents.) And, of course, I can text any member of Artistic staff to get dancers out of rehearsal for fittings, inform them of dancer absences or get questions answered.

This may be the toughest choice I'll have to make - ever.

79

Students and Novice Stage Managers / Re: Asked to make way for a freshman?

« on: Nov 21, 2014, 02:20 am »

I will say a situation like this is coming up at my company. The dancers are questioning the casting decisions of the artistic staff, as they feel others may be better suited for roles, or they may not be. Even in a union company (as stated in the contract) casting is always the decision of the artistic director. It's not up the talent to question whether or not someone is right for a role.

The same goes for those of us on the production side. Unless the company is a co-op and you are a partner who has equal say in who gets selected for which position, it is ultimately the PM's decision as to who is a SM, ASM, etc. You don't know this student's background, and it's also not your place to judge their ability. It's generous that the PM is asking you if you would be willing to allow this other student an opportunity. Unless you signed a contract for the position for next semester, they can change their minds and select someone else. Don't think about the other student - focus on yourself and why you want to keep the position.

If you feel you really want to SM the project, state the reasons why you want to stay with it. Don't talk about the fact that the other person is a freshman, a recent major, or has a lack of experience - in truth - that person doesn't matter right now, you do. Who knows, the PM may recognize your passion and decide to keep you in the SM position and decide themselves that the other person should be the ASM. Or perhaps they feel you are strong enough for other things. Just be honest, but focus on yourself.

I myself was a recent switch to a technical theater major - I had only been a minor in theatrical studies. I got put on a show my freshman year. None of the other students knew me, nor did they know my personal experience SM'ing musicals, straight plays, being a performer, musician, etc in high school and in community theater before coming to college. Don't judge - we all have to learn some time. What better place than in the safety of an educational setting?

80

Students and Novice Stage Managers / Re: Dress blacks and what is or is not acceptable

« on: Nov 21, 2014, 02:07 am »

I think it depends on the venue, company, and your relationship with both. I call from backstage, but I work in a union house where I shouldn't be doing anything but calling the show (and I always have 2 ASMs watching the deck).

I tend to dress nicely, but not necessarily black. I stand behind a console and am never in sight lines. My predecessors ranged from wearing tails (I'm not kidding) to wearing holy jeans and the local hockey team's light gray sweatshirt. I think I may have worn a white shirt backstage in the past, but I always had a black long sleeve cover up if I needed to walk away from my console during the show.

It also depends on the show - there have been times that I've found during tech that I can't see the show properly in the monitor and I need to call standing in the wings, or sometimes even laying on the floor in the wings. For those shows, I make sure I'm in all blacks or at least with a black long sleeve cover up, without anything that is going to make noise or get me caught on any scenery or hard leg bungees.

When I'm in the booth - which is incredibly rare, color doesn't matter. Though I think it's nice to dress up, as it shows the company that you care, and if you need to walk through the house or the lobby, it helps to look like a professional. The booth is definitely a place to enjoy your splash of color.

81

Job Postings / Re: SM for China -

« on: Nov 21, 2014, 01:59 am »

I've done a tour in Wuhan before; it's a beautiful city, and one of two I actually had a day off to site see in. Here's a link about the show:

http://www.thehanshow.com/en/hanshow/

82

Stage Management: Other / Re: How To call a Dance Show when your Unsure

« on: Nov 07, 2014, 01:44 am »

Let us know how it goes - and if you picked up any special tips or tricks to share with the rest of us!

Merde!

83

Introductions / Re: Hello~!

« on: Oct 09, 2014, 12:22 am »

Welcome, Alexa!

Please do share your experiences about working in Fashion Shows on the Stage Management: Other board. I'd love to hear what that's like. I'll admit to watching my fair share of ANTM, but I'd love to know how those shows are really put together in advance of the models arriving. Feel free to ask questions about concert SM'ing on the Other board, or read the Plays & Musicals board to get more info on SM'ing musicals.

Welcome!

84

Tools of the Trade / Re: Use of lighter on stage

« on: Oct 01, 2014, 01:05 am »

I don't know if it's too late to think about this - but is there any chance of getting a permit from the Fire Marshall? In venues I've worked in I show the Fire Marshall the safety precautions that will be taken, where the fire extinguishers are, who will operate them, where the ash cans are, and what the pattern of the flame will be onstage.

Is that a viable option at this point? If not, and everything else seems impossible at this point, just turn away with the match - or hide it with your hand. Keep in mind, the lighting is in reverse - so anything naturally bright would be black. When I performed in this show in high school we had a flicker lighting effect when matches were used - maybe that can help?

85

Stage Management: Plays & Musicals / Re: FINANCE: creating a system of accountability with a difficult director

« on: Sep 24, 2014, 12:35 am »

I agree with everything Maribeth has listed - and going along with a "cost-out" plan:

Set a new company policy - that before money is spent, a person must provide an invoice for anticipated expenses before the purchase is made. If the invoice is not signed off on before purchases are made, then expenses will not be reimbursed. Period.

This will either force the director to A) find something that works within the budget or B) the director gives up the buying power and defaults to someone who can work within a budget to make purchases. Either way, by setting a company policy of "pre-approval before purchasing to guarantee reimbursement" will hopefully reign the director in.

It isn't that difficult, but it can be a little time consuming. When I have not been informed of budget numbers, I make a list of what I need for a show, price everything out and turn in a projected expense report/invoice. If it doesn't get approved, I don't make the purchase, and I let management know that what we won't have. Then we do 1 of 3 things 1) Find money elsewhere for the purchase  2) Figure out another way to obtain said item(s) or 3) Figure out a way to do without. 

86

Introductions / Re: New & A Student at Ball State University

« on: Sep 16, 2014, 11:53 pm »

Welcome, Taylor! I also went to BSU and got a degree in Theatre: Technology & Design (though the programs are more defined now). There are some really wonderful spaces there - be sure to try to work in all of them - the Cave, Strother and University Theatre. All of those can really help you prepare for the variety of venues out in the real world.

And if you see Dr. O'Hara in the halls - tell him Les said Hi!

87

Tools of the Trade / Re: Cheap Spike Tape?

« on: Sep 15, 2014, 03:04 pm »

Try Southwestern Bag in LA. However, depending on where you are, shipping costs may be prohibitive. It may be a special deal that I get to my relationship with the company, but I get spike for $5 a roll as long as I order at least 2 rolls per color.

88

Employment / Re: "...interviewing locals only..."?!

« on: Sep 10, 2014, 03:32 pm »

To add on to Matthew's post in  - if you feel it's a "locals only" situation, in addition to omitting your address you can always get a free phone number from Google Voice of the local area code in the city you're trying to work.  This tactic could be seen as a bit underhanded by some employers, but it wouldn't be difficult to put a positive spin on it and sell it as a demonstration of just how serious you are about relocating.

Though what if that employer asked you to come in for an in-person interview? What would you say?

89

The Hardline / Re: Do meal breaks count towards rehearsal hours?

« on: Sep 05, 2014, 02:32 pm »

No meal breaks do not count as rehearsal hours, as you are not rehearsing. They are just part of the total span of day. If a day is 7 out of 10, that means 7 working hours within a 10 hour time frame.

90

Stage Management: Other / Re: AGMA Rates

« on: Sep 04, 2014, 12:13 am »

Chris,

Were you able to find the information you wanted? As others have posted, each AGMA company has it's own individual contract with AGMA. In my company, the dancers are AGMA but Stage Management is not - so my rate is not listed. Unlike AEA general contracts (like the LoRT), there isn't a nation-wide standard, however, you will see several contracts with copy/paste language. This can be due to a particular Union Business Rep encouraging similar contract language with the companies they negotiate with - which may lead one to believe that there is an AGMA union standard.