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Stage Management: Plays & Musicals / Re: TOURS: Tips for Packing?
« on: Jul 15, 2011, 06:09 pm »
Oh cool - it is a small world CBT!
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77
Stage Management: Plays & Musicals / Re: TOURS: Tips for Packing?
« on: Jul 14, 2011, 01:40 pm »
Hey CBT - Yep, I'm with Seth B! How do you know Seth?
Hmmm....the one thing I wish someone told me. I had a lot of great advice coming out on tour. But I guess one piece of advice would be that EVERYONE will have a problem with EVERYONE else at some point or another. It just happens, and then, most of the time, they get over it.
Or maybe, take advantage of the places you are going, or places that are nearby places you are going. I've really done that, but some of the people I travel with (10 years on the road), wish they had done so previously. It's really easy to be tired and sleep in on a day off (or sleep off the hangover), but there are some great places to discover across the country, and you might regret going to all these places but not really seeing any of them! (Then again, not to say I haven't decided to have a lazy day doing nothing but watching TV in bed and ordering room service before show call. We all need those days once in awhile too
Oh, and be careful with what you eat and how much you drink. Touring can lead to unhealthy habits. It's easy to go to a fast and unhealthy eatery when you have no time to eat on those load-in days, and it's easy to have too much to drink every night. Even just having to mostly eat out is harsh on your weight. I gained my touring freshman 15 in the first few months of tour from beer and other unhealthy crap....losing it is much harder
Just think about it when you're making your restaurant choices...
Hmmm....the one thing I wish someone told me. I had a lot of great advice coming out on tour. But I guess one piece of advice would be that EVERYONE will have a problem with EVERYONE else at some point or another. It just happens, and then, most of the time, they get over it.
Or maybe, take advantage of the places you are going, or places that are nearby places you are going. I've really done that, but some of the people I travel with (10 years on the road), wish they had done so previously. It's really easy to be tired and sleep in on a day off (or sleep off the hangover), but there are some great places to discover across the country, and you might regret going to all these places but not really seeing any of them! (Then again, not to say I haven't decided to have a lazy day doing nothing but watching TV in bed and ordering room service before show call. We all need those days once in awhile too
Oh, and be careful with what you eat and how much you drink. Touring can lead to unhealthy habits. It's easy to go to a fast and unhealthy eatery when you have no time to eat on those load-in days, and it's easy to have too much to drink every night. Even just having to mostly eat out is harsh on your weight. I gained my touring freshman 15 in the first few months of tour from beer and other unhealthy crap....losing it is much harder
Just think about it when you're making your restaurant choices...
78
Employment / Re: Honest Opinion: Can I Make This Happen?
« on: Jul 10, 2011, 03:31 pm »
Agreed! Experience is key. It's not an easy career, but if you keep interning/working with professional companies during the summers, you'll have experience, and a network of contacts to get yourself started when you graduate.
79
The Hardline / Re: Union Membership not required under AEA Contract?
« on: Jul 10, 2011, 03:13 pm »And LizzG, that's great that your education system is like that - most schools that have a good stage management program do work under AEA rules - to the best of their ability. But the reality it, it's always some sort of bastardization of it - I always ask, under what contract did you work under? Did you rehearse 8 hours a day? Did you tech the full amount of time? Often, it just means (and I have no idea where you went to school) we took breaks under AEA rules.
But, you, without your AEA card, versus someone who has 5 ... 10 ... 15 years experience with the union, who is a production manager or general manager going to chose? (All other things being equal.)
Be familiar with the union rules is one thing --- knowing them is another --- being able to jump through them, bend them, flip off them and spin them around to get what you need out of them is something else entirely. Remember, a SM who makes a mistake in scheduling or misreading the rules can cost a theater company hundreds or thousands of dollars. It's not just reading the book, it's knowing what's an important rule and what's not important. To say what you learned in school and off a couple of workshops is to belittle what one gets from years of experienced. It would be like someone saying, I am ready to stage manage anything because I did two shows in my basement - maybe you are, but you don't have a proven track record, and you don't have the experience to back it up. It would be a huge gamble.
Yes, you have to get the start some place, probably not as the SM, most likely as a PA, then an ASM, and the move up to SM - but rarely are is your first card position the SM on a show. And, it would be different levels. Probably not on Broadway or a major regional theater . . . but luckily theater has all sorts of tiers for all sorts of people.
I am just saying that a GM or Production Manager for a living wage theatre job would be taking a pretty big risk putting a non-union SM into a union slot without some mitigating circumstances. And I wonder how much push back they would get from the union (and can get from the union) for hiring non-union.
Union, not-union, whatever - there are so many jobs for everyone out there . . . LizzG, I just want people to be careful when they downplay the experience of years of experience brings to the table (in the union or not) - it's hard - too many people think that that stage management is the job they did right out of college, but in reality, as we all move down the job path, we learn how much more is involved in this position - and how more complex it is.
Oh, yes, I completely agree that it takes years and years of experience to do this job, and to do it right. And a non union SM who is hired to be a first time AEA SM would have a hard task in front of them! I meant my comment in relation to hiring non union ASMs into a union job (referencing the original comment). An ASM getting their card for the first time would surely read up on the rules, and would also have their SM to guide them.
I didn't mean to belittle the experience necessary to do this job, either. I'm not just an out of college Stage Manager, as my post might have suggested...
80
The Hardline / Re: Union Membership not required under AEA Contract?
« on: Jul 08, 2011, 10:52 pm »
"I would never want to interview an non-AEA stage manager for union show because they wouldn't have the experience with the union rules that we have to follows."
I wouldn't say that is necessarily true. Just to take one example, I am not an AEA SM. However, in college we worked completely under AEA rules (and even had 6 professional AEA actors act in our shows and teach acting classes). I have also worked many a NYC showcase show under AEA rules, and I would consider myself pretty familiar.
Plus, SMs have to get their start in the union somehow. Any good SM who gets hired for an AEA show will familiarize themselves with the rules I'm sure....
I wouldn't say that is necessarily true. Just to take one example, I am not an AEA SM. However, in college we worked completely under AEA rules (and even had 6 professional AEA actors act in our shows and teach acting classes). I have also worked many a NYC showcase show under AEA rules, and I would consider myself pretty familiar.
Plus, SMs have to get their start in the union somehow. Any good SM who gets hired for an AEA show will familiarize themselves with the rules I'm sure....
81
Students and Novice Stage Managers / Re: Blocking Script vs Calling Script
« on: Jun 27, 2011, 11:25 am »
I've seen other SMs whom the post it system worked great for, but I am too afraid of a post it falling off (which would happen quite easily with all the transport of my script) and not being able to remember it's place.
I do 2 different scripts when I have the time (IE long running shows), and it works very well. If a blocking note is especially important, I'll just include it in my calling script.
I do 2 different scripts when I have the time (IE long running shows), and it works very well. If a blocking note is especially important, I'll just include it in my calling script.
82
The Green Room / Re: Future
« on: Jun 08, 2011, 01:56 am »
Yes - a lot of theater people have gotten a degree in something other than theater. The key is experience. Some people get that from school, and some from working outside of school.
I went to school for biology (and that's what my degree is in), but I went to a school with a good theater program where I could SM without being a theater major. I spent all of my time outside of classes in the theater building, and working in other entertainment capacities on campus and off. It's been 4 years since I graduated, and I've been employed as a Stage Manager ever since (right now I'm an ASM on a first national tour)!
I went to school for biology (and that's what my degree is in), but I went to a school with a good theater program where I could SM without being a theater major. I spent all of my time outside of classes in the theater building, and working in other entertainment capacities on campus and off. It's been 4 years since I graduated, and I've been employed as a Stage Manager ever since (right now I'm an ASM on a first national tour)!
83
Employment / Re: Civilian Jobs?
« on: Apr 25, 2011, 04:42 pm »
I have several SM friends who work in other areas of theater when there is no SM work (props, electrics, house staff, etc.). As for myself, I held a full time props job at a long running off-broadway show for 3 years (while freelancing as a SM) before going into Stage Management full time on the road.
Guess that's not really a 'civilian' job...but pays the bills while still working in theater!
Guess that's not really a 'civilian' job...but pays the bills while still working in theater!
84
Tools of the Trade / Re: Bubbles!!!
« on: Mar 24, 2011, 04:34 pm »
I second carpet! It's worked very well for my current show, and though we don't use bubbles, we have slippery food products and all sorts of water on our stage....
85
Stage Management: Plays & Musicals / Re: TOURS: Tips for Packing?
« on: Feb 16, 2011, 06:22 pm »
I read this thread for packing advice before my first tour, and since I'm about 6 months in, I figured I would contribute some other things I've learned. FYI - I'm an ASM on a year long bus and truck tour, with a combination of 1-2 week sits and split city weeks (with 1 dreaded one nighter coming up), so I've had to pack for a whole year, with seasonal changes and all.
-Ultra light packers: A bunch of different companies make these (just gave a link to one of the companies that does), but they are great. You can sort your shirts in one bag, pants in another, so when you are looking through your luggage for a clothing item, instead of pulling out a bunch of different pieces of clothing, you can just pull out a few bags. http://www.llbean.com/llb/shop/42894?from=SR&feat=sr
-Clothes: To deal with winter and summer clothing options, I do something simple that most of the people on my tour do. I have a bunch of tee shirts that can be worn in the summer. And then in winter climates, I just throw my hoodie over a tee shirt and it's toasty warm. I still have 2 or so long sleeve shirts, but it's much less to pack than having a summer wardrobe and a winter wardrobe (and you don't have to go through the hassle of sending things back home).
-Speakers: I have these amazing little speakers that pack up so compactly that it's amazing. Even the cords that plug the speakers into each other and the audio jack are retractable! They are called "chill pills"....but I've seen other kinds of mini speakers from fellow tour-mates that work awesomely without much of a space impact as well.
-Luggage: I bought 2 bags for touring, one is a Samponsite medium sized 'spinner' suitcase (a nice expensive one at that). The other is an Ogio small travel suitcase/duffel. I bought those 2 with the reasoning that it would be easy to push the spinner in front of me while wheeling my other bag behind me. EXCEPT, spinner luggage sucks on carpet. And every single hotel that we've stayed in has carpeted hallways. Now, spinner luggage is great in airports....but overall, not worth it in general. Plus the wheels on spinner luggage aren't that great when you try to use it as you would wheels on regular suitcases.
-You can never have enough socks/underwear! And always keep a few pairs of socks in your roadcase for those long load-in days. Putting on a new pair of socks for show call on a load-in can sometimes make my day
-Ultra light packers: A bunch of different companies make these (just gave a link to one of the companies that does), but they are great. You can sort your shirts in one bag, pants in another, so when you are looking through your luggage for a clothing item, instead of pulling out a bunch of different pieces of clothing, you can just pull out a few bags. http://www.llbean.com/llb/shop/42894?from=SR&feat=sr
-Clothes: To deal with winter and summer clothing options, I do something simple that most of the people on my tour do. I have a bunch of tee shirts that can be worn in the summer. And then in winter climates, I just throw my hoodie over a tee shirt and it's toasty warm. I still have 2 or so long sleeve shirts, but it's much less to pack than having a summer wardrobe and a winter wardrobe (and you don't have to go through the hassle of sending things back home).
-Speakers: I have these amazing little speakers that pack up so compactly that it's amazing. Even the cords that plug the speakers into each other and the audio jack are retractable! They are called "chill pills"....but I've seen other kinds of mini speakers from fellow tour-mates that work awesomely without much of a space impact as well.
-Luggage: I bought 2 bags for touring, one is a Samponsite medium sized 'spinner' suitcase (a nice expensive one at that). The other is an Ogio small travel suitcase/duffel. I bought those 2 with the reasoning that it would be easy to push the spinner in front of me while wheeling my other bag behind me. EXCEPT, spinner luggage sucks on carpet. And every single hotel that we've stayed in has carpeted hallways. Now, spinner luggage is great in airports....but overall, not worth it in general. Plus the wheels on spinner luggage aren't that great when you try to use it as you would wheels on regular suitcases.
-You can never have enough socks/underwear! And always keep a few pairs of socks in your roadcase for those long load-in days. Putting on a new pair of socks for show call on a load-in can sometimes make my day
86
Students and Novice Stage Managers / Re: Preset before performance
« on: Feb 04, 2011, 07:07 am »
"LizzG -- How/where do you laminate your checklist?"
We have a small laminating machine that has been passed down from tour to tour - I'm sure it's not that expensive and can be bought at any staples or office depot store. Then we buy laminating pouches (they are like $20 for 50 of 'em), and all you have to do is stick the checklist in the pouch and run it through the machine. Super simple.
But then again, I'm doing this for a show that I'm on for an entire year - and my show is too messy to risk use of the sheet protector, because some fluid would surely get inside of it.
I've used sheet protectors on shorter running shows and they've worked just the same.
We have a small laminating machine that has been passed down from tour to tour - I'm sure it's not that expensive and can be bought at any staples or office depot store. Then we buy laminating pouches (they are like $20 for 50 of 'em), and all you have to do is stick the checklist in the pouch and run it through the machine. Super simple.
But then again, I'm doing this for a show that I'm on for an entire year - and my show is too messy to risk use of the sheet protector, because some fluid would surely get inside of it
. I've used sheet protectors on shorter running shows and they've worked just the same.
87
Students and Novice Stage Managers / Re: Preset before performance
« on: Feb 02, 2011, 06:02 pm »
I try to be green where ever I can - theater is a wasteful business, especially touring and especially my show! So along the idea of Bwoodberry, I laminate my preshow checklist (it's one legal sized paper) and then use a dry erase to check items off as I go!
88
The Green Room / Re: Tax Season!
« on: Jan 16, 2011, 01:44 pm »
A question along these lines - Does anyone have recommendations for a good (arts minded) accountant in NYC?
89
The Green Room / Re: Video / photos during performance
« on: Jan 16, 2011, 12:40 pm »
"I think the video taping isn't just a problem with theatre, it's a social issue, a sign of the times. People love to record things, everything. So much for relying on mental memory. Many don't even give the thought of recording something a second thought, since it's so easy to do....and what's the worst that could happen?- an usher scolds them. That's not a punishment. "
jNehlich, that's very true, and sad. Why people would rather watch the show that's happening in front of them through a camera screen than LIVE in all it's glory (as intended), I'll never understand. That's how a lot people are today, and sadly, they just don't understand how disrespectful it is.
For me, the issue is less about "ownership" and more about respect. Flash photography, recordings and the like is disruptive to the actors, to the audio engineer in the house, to the light board operator and to the actors. It's also disrespectful to the other audience members. Personally, I would be angry with a fellow audience member distracting me from the show I'm watching by taking pictures...so much so that I would probably say something to them (but obviously, being a person who works in theater, of course it annoys me, does it really annoy the average theater goer?)
As for how to combat it...vigilance is my method. When I worked at an off-broadway, I would call the HM right away to notify him of flash photography. Now that I'm on tour, I'm lucky to have a board op and audio guy who care about the issue and will let me know of any picture takers. As the ASM, I have quite a few FOH cues, so I am able to go reprimand phototakers myself most of the time, but if I am not able to come and deal with the issue, the board op and audio will try and get a nearby usher on the issue. And sometimes we get lucky with a good FOH staff. I like to think that when the rest of the audience sees a photo taker get 'talked to', it gives them pause before they do it themselves, and to an extent it does.
But still, when our show gets to the finale (which is crazy with strobes and 10 6-foot inflatable balls in the audience among other things), people take crazy photos.
jNehlich, that's very true, and sad. Why people would rather watch the show that's happening in front of them through a camera screen than LIVE in all it's glory (as intended), I'll never understand. That's how a lot people are today, and sadly, they just don't understand how disrespectful it is.
For me, the issue is less about "ownership" and more about respect. Flash photography, recordings and the like is disruptive to the actors, to the audio engineer in the house, to the light board operator and to the actors. It's also disrespectful to the other audience members. Personally, I would be angry with a fellow audience member distracting me from the show I'm watching by taking pictures...so much so that I would probably say something to them (but obviously, being a person who works in theater, of course it annoys me, does it really annoy the average theater goer?)
As for how to combat it...vigilance is my method. When I worked at an off-broadway, I would call the HM right away to notify him of flash photography. Now that I'm on tour, I'm lucky to have a board op and audio guy who care about the issue and will let me know of any picture takers. As the ASM, I have quite a few FOH cues, so I am able to go reprimand phototakers myself most of the time, but if I am not able to come and deal with the issue, the board op and audio will try and get a nearby usher on the issue. And sometimes we get lucky with a good FOH staff. I like to think that when the rest of the audience sees a photo taker get 'talked to', it gives them pause before they do it themselves, and to an extent it does.
But still, when our show gets to the finale (which is crazy with strobes and 10 6-foot inflatable balls in the audience among other things), people take crazy photos.
90
The Green Room / Re: Spider-Man: Turn off the Dark
« on: Dec 22, 2010, 09:16 am »
Slightly off topic:
I agree with MatthewShiner, illegal taping of shows happens all the time now, despite how vigilant the FOH staff or clear your signage is. The tour that I'm working on now suffers from illegal video taping and FLASH photography almost every show (with non-flash photography occurring multiple times every show for sure). Granted, with a tour, you are more likely to have these issues because the FOH staff does not travel with the production, but this was also the case at the last off-Broadway show I worked for.
How people think that disruptive flash photography is okay, I'll never understand.
More on topic:
I wonder if they will release more information on the "human error" that caused this accident. With such a high profile show, and with the accidents that have already plagued the show, one would hope that more details would be revealed...
I agree with MatthewShiner, illegal taping of shows happens all the time now, despite how vigilant the FOH staff or clear your signage is. The tour that I'm working on now suffers from illegal video taping and FLASH photography almost every show (with non-flash photography occurring multiple times every show for sure). Granted, with a tour, you are more likely to have these issues because the FOH staff does not travel with the production, but this was also the case at the last off-Broadway show I worked for.
How people think that disruptive flash photography is okay, I'll never understand.
More on topic:
I wonder if they will release more information on the "human error" that caused this accident. With such a high profile show, and with the accidents that have already plagued the show, one would hope that more details would be revealed...