Messages

76

Employment / Re: Resume Question

« on: Dec 17, 2007, 08:09 pm »

I disagree.  Though it shouldn't matter to a T the formatting of your resume, our field has a great deal of focus on how paperwork looks, so your resume is just another example of that paperwork.  Plus, people won't be responding to you from the actual resume, but more likely from the cover letter that the resume is attached to.----and if you don't already, you should always be putting your resume in PDF format...that way it doesn't come out wrong on other computers.

The other thing is, the cover letter is the gateway to the resume is the gateway to the interview is the gateway to the job....One little thing at each of those points that's not JUST right can prevent you from getting to the next stage.  Make it SOOOO presentable that they can't NOT give you an interview. Every little thing matters...and if it turns out that it doesn't matter and you did it anyway, no biggie, but if you don't do it, and it turns out that it matters...biggie.

I think the hyperlink on the resume is not a great idea. Keep it consistent...Make it look like a hardcopy resume would look.  No one will mind the extra work of having to highlight, copy and paste if they actually do want to use the digital resume itself to respond to you. And it looks cleaner.

77

Employment / Re: Theatre in Minneapolis

« on: Dec 17, 2007, 08:04 pm »

I second that.  She is great. I haven't had the chance to work with her but I've talked with her and would love the opportunity to be in a work environment with her.

The Childrens Theatre, I believe, does an apprenticeship program for stage managers, or they did, or they're going to...or something.  Check it out. They woudl be a great place to get your feet wet in the city. Not sure if it pays or not.

The Guthrie also does an SM internship. I think it's a year long and you intern shows in rehearsal and performance, many times serving as a second ASM or the 1st ASM if it's a smaller studio show.  That is also an unpaid internship, but is great on a resume.

78

Employment / Re: Theatre in Minneapolis

« on: Dec 16, 2007, 09:28 pm »

Hey Hey! You've hit my specialty. I'm a Minneapolis based stage manager, and YES, there is a lot of work in Minneapolis....but don't take any from me! 

There are many theatres in the cities.  Most are small independent theatres, and depending on where you are on your journey, they can be a great place to start out, but don't pay much.

Larger theatres include:
The Guthrie Theater
The Minnesota Opera
Theatre de la Jeune Lune (recent Tony winner)
The Childrens Theatre
Illusion Theatre
Pillsbury Theatre
Park Square Theatre
Great American History Theatre
Ordway Theatre
Mixed Blood Theatre
The Jungle Theatre
Chanhassen Dinner Theatre
Theater Latte Da (up and coming)
Torch Theatre

These are just a few, and all pay....most are looking for AEA stage managers. For a larger listing (that does include small independant companies) go to
http://www2.bitstream.net/~iras/org.htm

Minneapolis, by the way, has the largest theatre scene (per capita) and is a great place to do theatre. PLUS, the city is a great city to live in. If you ever want to know more about the city, send me a PM, by all means.

79

Stage Management: Plays & Musicals / Re: Question from an newbie!

« on: Dec 11, 2007, 01:36 pm »

Looking over the responses so far, it becomes clear, in my opinion, that there are multiple ways to do this, so CORDELIANO, you should feel free to experiment and do what works for you.

That's one of my biggest philosophies of stage management, that you need to do what works for you.  There's no one set way to do something, and (for the most part) no one set standard for paperwork or forms. You do what is best for you and the production.

I've done the musical prompt scripts different for different musicals, depending on the need of the show and my needs in calling the show, from putting the score into the libretto, to calling from the libretto, to adding in counts....it all was dependant on what i needed.

We all work by trial and error, even the experienced stage managers do.  I learn new things about my job and how I can be a better stage manager almost every day...and i've found that to be the case for years! I hope it's always true for me!

80

Stage Management: Plays & Musicals / Re: Multiple Rehearsals at same time.. HELP!

« on: Dec 10, 2007, 07:50 pm »

It's a puzzle, that's all.  There are multiple pieces, and your job is to put the pieces together--but this puzzle can be put together in different ways.  There will be times where you find that you could have done things differently to maximize results, but you do your best and that's all you can do.   As long as you keep the process moving forward at a proper speed, you're doing it right. If you're keeping things moving even better than that, you've REALLY got the hang of it.  Along the way, you'll find secrets, like "oh, I know I can always put these two actors in the other room to work on X while we're rehearsing Y in this room." Then you'll always know to do that whenever Y is happening onstage.

The way I like to do it is to first put down the ideal schedule for the main rehearsal (i.e. the rehearsal the director is in), then the second priority (as long as no costume fittings, voice/text sessions, etc) is the rehearsal with the Asst. director, then the third with etc. etc. Fill out the perfect day's schedule for the main rehearsal. With that, then what can you do in the next room?  Now once that's done, what can you do in the next room? There are multiple combinations for each day and you should try a few before setting the schedule.

it will work out. it will take time. it will get easier.

81

Stage Management: Plays & Musicals / Re: Question from an newbie!

« on: Dec 10, 2007, 06:50 pm »

Stick the music in where it goes in the script. Draw lines through the music text in the libretto. Example below as best I could do:

Page 1:
libretto Text Text Text
Song #1 libretto Text

Page 2:
Song #1 score

Page 3:
libretto Text text text
song #2 libretto text
libretto text text text

Page 4:
Song #2 score

Page 5:
another copy of the previous libretto text page since there was text after the music so....
libretto Text text text
song #2 libretto
libretto text text text


That's the way I've done it. Unless you want to get really crazy and complicated with scizzors and tape and a copy machine, but I find that unnecessary.  Just find a way that works for you so that you can follow along. There's no "way". The best way for you is "your way".  It's all about making it work for you.

Another method is to not be so particular with the blocking. Put it next to the music line that it goes to in the libretto.  That shoudl be sufficient for blocking. As for calling the show, you can use the libretto if you make notes such as:

Text text text
                           LQ 7 (on chord)
text text text

That would be for if there was a chord in teh music between the two lines of text.

82

Stage Management: Plays & Musicals / Re: Budget?!

« on: Dec 10, 2007, 01:36 pm »

I think the difference between "standards" for lengths of rehearsal depends on pay usually.  Equity houses will never (or rarely) rehearse for 8-10 weeks because they don't want to pay all the actors and stage managers for that many weeks.  Smaller houses that offer one time stipends have more flexibility in how long the rehearsal process will last as the only added fee is the electric bill and the rental of the space. 

Personally, I've never rehearsed more than 5 weeks (including tech), but that was working 48 hrs a week on the show, so depending on what the rehearsal schedule looks like, and since the actors are on a voluteer basis, maybe 8 weeks is ok.

I would warn though, as already mentioned above, that getting actors to commit to 8-10 weeks of rehearsal with a week or two of shows after that can be tough. You may get some drop outs as things come up in their lives. That's a long commmittment with no pay.

83

Stage Management: Plays & Musicals / Re: A tricky situation

« on: Dec 10, 2007, 01:17 pm »

In this world of "drama" that we surround ourselves in to make a living, we have to remember that it is still work and that it is still just a job.  This is simply an unhealthy office romance.  People will look at them strange, there will be a weird feel in the air, but they're actors, they're job is to perform onstage the characters that they and the director set during rehearsals. If the romance goes sour, chances are it won't affect the show, because she needs that employment just as much as anyone else---plus it's her (and his) professional reputation on the line.

At worst, they'll be cold to each other backstage and the romance scene will be awkward for a day or two. If it continues to affect their performances, then you step in and say "I think we've lost some of the motivation in scene XX" or something like that.

You keep focused on maintaining the show.  Let them maintain their personal lives.

Short story that reminds me of this: I had two guys a few years ago in a show who were getting romantic backstage (they were playing father and son in the show) and for about 5 days in a row, when I called 15, they'd still be chatting up a storm and not in costume or makeup. The same would be true when I called 5 and then they'd rush off to get ready.  But really, my job isn't to demand how they spend their half hour, only to make sure they're ready when the curtain rises!  So on the fifth day, I said "guys, chat all you want to, but at 8:00 the show starts, and I'm not holding the show for you if you're not in costume and makeup."  It got the message across.  They knew that they were there to do a job and it fixed the problem.

84

Employment / Re: Going to NYC?

« on: Dec 05, 2007, 07:30 pm »

Another city to consider is Minneapolis/St Paul.  They have one of the largest theatre scenes in the country, outside of New York and Chicago.  Many theatres to get your feet wet with, a good amount of Equity Theatre, and lots of work for theatre technicians.  You may work for stipends or volunteer at first, but climbing the ladder is part of the deal, in my opinion.

85

The Hardline / LOA referencing contracts

« on: Nov 01, 2007, 04:25 pm »

Here's a question that I feel dumb for not knowing the answer to.  On an LOA contract that references another contract, do they have to pay according to the contract they're referencing?

For example, on an LOA ref. LORT D, does the LOA contract have to pay $670/wk for the SM?

I'm thinking that the answer is NO, it doesn't NOT have to match the pay of the contract it is referencing, but I just want to be 100%.

Thanks to anyone who can clear this up for me.

86

Tools of the Trade / Re: SM Software

« on: Oct 31, 2007, 01:38 pm »

I think we've left out two thoughts in general to the idea of using computer software for all SM duties....

1. There are still many theatre companies, artistic directors and directors who do not take well to having computers constantly being used in rehearsal rooms.  While I am all for using computers when necessary, I think it can be very distracting to be CONSTANTLY on the computer.  It pulls the SM out of the rehearsal and the SM is more likely to miss things.  As one artistic director said to me--"I REFUSE to allow technology to take over my rehearsal rooms."

2. Is it really the most efficient, effective, productive, and intelligent way to stage manage a show? Or can it be distracting, tempt stage managers to be "over-productive", and force us to run the risk of losing information if computers fail?

I've used a program called LINE NOTES (from ThankYou5) for taking line notes, and while I find it very useful in some occassions, I've also found that it does take me longer to note a line mistake. First I have to be sure I'm scrolled to the right place in the script, then I have to click and highlight, then I have to right-click and select the type of note. Then a box pops up where I put in the mistake, etc. etc. etc.  Not to mention that every once in a while, the computer would lock up, or the pop-up box would take longer than usual to open...Using a pencil and the script, I circle the missed line, scribble down some code for what happened, and move on.  It's much quicker, and I feel much more a part of the rehearsal. 

*Almost* every company I work for allows computers to be in the rehearsal room, but they ALL frown on constant use of them (by constant, I mean using it for everything and working from it only, without a pencil and paper in hand). Now mind you, these are not small companies. Some are large regional theatres and some are mid-sized theatres within cities.  The problems with constant use are obvious: the clicking of the keyboard, the inevitable desire to keep everything always up to date, the guilty desire of checking your email constantly, the possibility of failure, the (usually wrong) perception that the SM is not focused on the task at hand.  I love my computer...I bought it for my work....but I don't think I should have all my paperwork on it and only on it.  A paper script and a notebook are much safer and smarter choices in my opinion.

What happens when the power goes out in the middle of a rehearsal and you haven't saved in the past 30 minutes because you've been too busy taking note after note?  Will you remember every single thing you put down in that time?  If using paper and pencil, all is well once the power returns.   What happens when the computer locks up or fails? They ALL do at some point or another!  How will you get through the rest of your rehearsal without the information you needed?

As far as calling a show from a computer screen, I just don't understand it.  Many have said that they call from a screen and keep there book there in case of emergency. Well, I can't think of one instance where calling from a paper prompt book would fail you. I can think of MANY where calling from a computer screen would...so why take the risk? Why not put your script in on a computer, then PRINT it!   If you're calling from a computer with the paper book as a back up, I trust that you're following along in the paper book as well (in case of emergency)...so aren't you really just creating MORE work for yourself?

As stage managers, it's our job to be efficient, productive, smart, and to always be thinking ahead, solving problems that haven't yet unfolded.  Paper and pencil in the rehearsal room, with a supplemental use of computers is great. I think, however, that using computers as the only method of documentation and note taking does not show our efficiency, but our lack of ability to think ahead and think wisely. It's convenient, it's fun, and it feels cool, yes, but it's distracting to ourselves and others, and will lead to many more problems than the paper method.

Please know that I'm not trying to insinuate that computers don't have any place in rehearsal. Mine is always open, with the rehearsal report, props list, schedule, Scene/Character breakdown, digital script (if one exists), props preset, etc. etc. and when it's useful and necessary, I work from them, but I ALWAYS have a paper and pencil in front of me. If there's not time, or it's going to be distracting to write the note that was just given directly on the report, I put it down on paper, AND, even if I put it on the actual report, I jot a note about it down on paper, in case the computer fails.

In conclusion, I urge us all as intelligent and effective stage managers to consider all the reasons we want SM software that can do it all. Is it because we think our jobs will be performed better or is it because we know our span of days will be shorter if we don't have to do some paperwork when the day is done? 

Of course we'll always type everything we do, of course we'll always keep using technology to make our work (our final products, that is) look more professional and legible, and of course we'll always be able to find computer gadgets that DO make the process better for us and for the production in general, but at some point, we need to use our superior (I think) intelligence and decide when enough is enough.

Paper and pencil have been around for many many years without seeing extinction. I think it's for a reason.

87

Employment / Re: full time or part time?

« on: Oct 26, 2007, 04:09 pm »

Can I ask what city you're located in right now? A great way to start may be to learn about the job boards for that city, to begin working with and around SMs in that city. When I first started, I went to the SMA (Stage Managers Assocation) and got a list of all the SM members for my city, called or emailed all of them and said "help me! I'm trying to get started"...I actually landed a few jobs out if it.  Where are you at? Knowing that, some of us may be able to be even further help!

Keep strong. It's a hard business, and we all struggle from time to time, but it's worth it to be doing something you love.

88

Employment / Re: full time or part time?

« on: Oct 26, 2007, 10:26 am »

I have been, for the most part, working solely in theatre since school. When I first graduated, I moved to Minneapolis and took a temp job.  3 months into it, I got a daytime admin theatre job to support the work I was doing as an SM at night (totally unpaid at the time). I didn't like that. I left the admin job and started pursuing paid work.  I landed a summer contract as a non-union ASM at a large theatre.  When returning to the city from this, I was still working for small-med companies, so I got into doing promotions for a while. 

Promotions is where you (sell your soul to satan) go out on the street, or to the mall, or to a concert, and help to advertise a product. I handed out apples from Target at a park, barked about a new BMW at a country music concert, set up a big Best Buy tent, did a This Old House road-tour stop in Minneapolis, gave out samples of Jamison at gaybars, coughed as the "mystery cougher" for Ricola, etc. etc. They weren't always fun but I always made good money doing them.

Another option between jobs is always filing for unemployment. It's there and it's meant to be used.  If you have a few weeks of, file for it and you'll be surprised at how much a few extra dollars can help you out.

After a year of doing promotions about 25% of the time and SMing 75% of the time, I got to a point where I didn't need them anymore.  Since then, for the past 2 years, I've not had to do a single promotion, a single day job, but ONLY stage managing.

For me, it was a HUGE ladder I had to climb. I came from college in Iowa, so I didn't have many connections except the few that my professors had set up for me...plus, I found stage management late, so I was behind anyway.  My only way in was starting with the small independant theatres, which is where you seem to be, JJC98.  It's a tough place to be, honestly, but it is possible to climb that ladder...and to do it quickly if you want.

Once you are making ends meet with SMing (or descent money for that matter) the key is to save save save save save!  I started an auto-withdrawl from my checking and consider it part of my bills every month.  My financial advisor says that I should have a backup fund that is 2.5 x my checking account balance in savings, and that my checking account balance should be 4 months of living expenses (including the current month)....now I'm not there yet with that...but I'm working on it, and if I have to go a few months without work, I have the security of knowing that I won't go hungry.

That's what I did. I'm now a full-time freelance SM coming from having a dayjob, no resume, and little/no real world experience. This is all since 2003. So, it's very possible and very do-able to make a living at it and to get your way up there quickly. It's all about commitment and dedication. Good luck!

89

Employment / Re: Changing lanes.....

« on: Oct 20, 2007, 01:56 pm »

This has not been said yet, and though it's not answering any of your questions, I wanted to congratulate you on having the courage to make the decision that you needed to make.  There seems to be a certain stigma in this industry, with any production and creative staff, that looks down on those who leave the business. I'm not trying to generalize us as theatre people by any means, but I find that there are many of us in the field that have a certain attitute towards those who leave.  We feel that "they didn't have what it takes" or "they didn't have the creativity" or they "chickened out". It's an attitude that I constantly try to persuade others to remove from their mindset.

There is NOTHING wrong with changing careers. This line of work can be difficult in itself, not to mention the extreme difficulty in finding work.  Sometimes, there is only so much one can take before it's not worth it for them anymore. And to recognize when it is one's time to leave the field is a very strong character trait for a person to have.

I also find that this negative view of leaving the theatre world can exist inside of the person leaving as well and cause a level of personal shame. As I've had brief notions of changing careers in the past, I've certainly felt this.  I encourage you to stand strong beside yourself and know that you are doing what you need to do.

Though I don't know you at all, I'm very proud of you for being able to recognize that you needed a change. Congratulations on your decision and I wish you the best in whatever line of work you go into next.  On behalf of all of us, please keep us posted on your endeavors.

90

Employment / Re: From the other side of the resume (low key rant - personal advice)

« on: Oct 07, 2007, 06:56 pm »

I think on especially run crew work, listing any and all technical theatre work would be a benefit. On PA work, I think the same as SM resumes.  But I don't have experience in either so I'm speaking from instinct only.