Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - MatthewShiner

Pages: 1 ... 51 52 [53] 54 55 ... 148
781
Tools of the Trade / Re: Style Question
« on: Aug 15, 2012, 10:10 pm »
Button shirts with personality.
Nice jeans.
Shoes.

No shorts, no t-shrirts (AND NEVER T-SHIRTS WITH WRITING ON IT).
No sweats.
Oddly, for my ASMs no skirts or dresses (I think it ultimately depends on the show and if you can do your rehearsal track . . .)

Yoga pants on the edge - as long as they don't look like sweats.

Shorts are okay outside.


782
Employment / Re: Websites
« on: Aug 12, 2012, 10:35 pm »
Leaving behind Macs, I am of to Windows land, which left me scrambling to find a new program.

There really is no iweb for Windows, so off to dreamweaver (which is a LITTLE overkill), but it's what we had.

www.stagemanager.net

783
Tools of the Trade / Re: The ultimate binder
« on: Aug 10, 2012, 02:03 pm »
Maribeth - I just got this binder by mistake . . . I am intrigued.

The only thing I don't like is the side label is SO small on the spine, so not sure how to make it stand out on the shelf.

Otherwise . . . let us see how it lasts.

Also, kudos for making a binder last so long . . . I usually just get a new one every show.

784
Employment / Re: SM Typecasts
« on: Aug 07, 2012, 12:42 am »
I think it might be wise to down play, but suck out the classics from my resume, what do you get . . .

I use it as a spring board to start a conversation that my work in the classics means I work well with concept pieces, large casts (up to 50), up to 18 points of automation, work with fights, dance, choreography, vocal and dialect coaches, running multiple rooms, working on shows with long running time, paying attention to detail in the text, dealing with older and more established actors and actresses, and a host of other things working on the classics gets you.

Know, in a cover letter, I may highlight different things ("Like, although you can see I have a extensive experience in Classic theater, you can see that in the past two years I have Production Stage Managed two high profile musicals, working with a two Tony Awarding winning artists on the new work.")  Enough to get the dialogue moving.

Although, although I do still my resume out, it's basically a calling card now - I have enough of a name, at least regionally, I usually get an interview if there is any chance at me getting the job.

785
Employment / Re: SM Typecasts
« on: Aug 06, 2012, 07:41 pm »
Mr. Classical Theater - but I am working very hard on shaking that up, but I find that most of the stuff I am considered for is Straight Theater, and mostly classical - but breaking out the mold - worked on one new musical and one new re-think of a musical. 

I am trying very hard to shake things up for more professionally, without losing the ability to do classical theater that I have grown to love.

786
The Green Room / Reality Check
« on: Aug 06, 2012, 09:25 am »
I know this has been making the rounds . . .
but a reality check.

http://i.imgur.com/2QP9C.jpg

787
Booty calls - yes, that's my career.


788
Quote
Would you say you've chased Shakespeare, Shakespeare has chased you, or a combination of both? (Serious question btw...and how have you never managed Much Ado? One of my favs!)

Before my time at Shakespeare Theater Company in Washington DC, outside of School, I had only ever done one Shakespeare, a Hamlet.  Doing six years at some place called the Shakespeare Theater Company will knock some titles off the list VERY quickly.  Since then, I have been "typecast" as a Shakespeare Stage Manager - in the two years since I have left STC in DC - and moved to NYC, I still have done six Shakespeares (Cymbeline, Measure, All's Well, Titus, AYLI, and now Lear).

You know as a stage manager, you can get type cast - you are a "regional theater SM", you are an "Off-Broadway SM", you "are a musical SM" - it's hard to fight these stereotypes, and I sort have given up - and now are just getting really good at spinning - I can do long plays, with larges casts, and multiple scene changes - with a strong detail to text and history of the piece, with up to 18 points of automation, with casts members who often have multiple tracks.

Funny story, I am not really fond of Shakespeare - I don't usually rush out and see other people's Shakespeare.  It's not my entertainment of choice.  What I am fond of is working on good text, with good actors and fantastic designers and directors. That's where working on Shakespeare comes in handy - they often tend to be "designy" - which I professionally "get off on".  So, I think the Bard chases me, I play hard to get, but at the end of the day - I give in. 

Oh, I have no idea why I haven't done MUCH ADO . . . A friend of mine has done 11 productions of Lear, this is my first as PSM (I subbed on deck on the Bob Falls Production a few years back).  I have been involved in 5 productions of Titus, my friends has done zero. 

King John will be the hard one - although the Henry's get tricky as well - maybe I can find them.  It will get down to me starting to track who is doing those shows and offer to do them at a cut rate . . .

(And Thanks to Kay for pointing out some errors with my code - the new web page was my first HTML working at code level project I did - I mean I started with a template, but  my husband made me go do all the edits at code level.  I had four weeks off, I had to have a little project.)

789
So, I am on the road - it seems every fall I leave town . . . I just arrived in Providence, Rhode Island - start work tomorrow for a co-production of KING LEAR - opening here in Rhode Island, and then traveling to Dallas in January and February of next year.  It's interesting, as both companies have residence companies pitching in 6 actors (and then four local student non-AEA are filling out the cast).

Here's to new adventures . . .

(King Lear is another one off my Shakespeare list . . . this is the complete Canon with the ones I have done crossed off . .  . http://www.stagemanager.net/Canon.html - a couple of big ones left.)




790
The Green Room / Re: Which line would you take?
« on: Aug 03, 2012, 04:04 pm »
I guess the Public Line . . . dashed gray . . . since I seem to already be on it.

791
but with an electronic copy .... i can reprint a new script to deal with wear and tear.

i just like being able to write on my calling script, but for a show running years, it makes sense.

792
The Green Room / Re: Moving on...
« on: Aug 01, 2012, 05:51 pm »
NYC can be hard to bop in and find a job.  I am actually in Rhode Isalnd until mid-October, but if you end up in NYC then, look me up.

793
I am unsure why the desire to use sheet protectors.
It would make you script really thick, and anything that you right on the sheet protector that can easily come off when you want to clean it, might come off on accident on the other sheet protectors.  (Although I am intrigued about the sheet protectors for line notes . . . but again, I usually like an assistant who has some sort of record of where the past trouble spots where.)

I am wondering about the time suck from transferring from sheet protector to regular paper.

I do insert a blocking page between my script pages, with the corners cut off - so as you turn the page, you turn the blocking page automatically.  (See attachments).  That way, you can add new blocking pages on top of old, and still turn them.  Hopefully you are changing blocking more often then changing text.  But even then . . . the system still works.


The section on the left side of the script is room enough to write in preliminary cues, although I do type my calling script, it's basically this format.  (Attached is a more difficult section of this show . . . which was not that difficult).  Again, my reason for having a separate calling script - is I will need to move around the text to get all my cues in, especially around complicated sequences or more technically complex shows . . . (That full page of cues is only 1/3 of page of text).

Again, you should keep tying new methods to find one that works for you and the types of shows you are working on.  Hope my samples help.

Post Merge: Aug 01, 2012, 01:21 pm
(Maribeth got her response in as I was typing and putting my together . . . I think we have identical formats, or very close)  Although I find I only need about 2 inches for my cues when hand writing.

Again, I manipulate the heck out the text when I put together my calling script.

795
The Green Room / Re: I like my theatre like I like my men...
« on: Jul 30, 2012, 09:54 pm »
I like my theater like I like my men:  5 acts; but only one intermission.

Pages: 1 ... 51 52 [53] 54 55 ... 148