811
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812
The Hardline / Re: Tech under SPECIAL APPEARANCE AGREEMENT?
« on: Jun 12, 2012, 02:13 pm »
You have to think about things this way . . .
Anything is possible for a price.
The reason this conflict is SO restrictive is the cost is so cheap.
Anything is possible for a price.
The reason this conflict is SO restrictive is the cost is so cheap.
813
The Hardline / Re: Tech under SPECIAL APPEARANCE AGREEMENT?
« on: Jun 04, 2012, 01:51 am »
or, you just tech five hours a day . . .
814
Self-Promotion / Re: AS YOU LIKE IT
« on: Jun 03, 2012, 12:10 pm »
Little blurb about AS YOU LIKE IT
Finishing tech today! Previews on Tuesday.
http://www.playbill.com/news/article/166619-THE-WEEK-AHEAD-June-2-8-Death-of-a-Salesman-Ends-Broadway-Run-54-Below-Opens-Shakespeare-in-the-Park-Begins/pg2
Finishing tech today! Previews on Tuesday.
http://www.playbill.com/news/article/166619-THE-WEEK-AHEAD-June-2-8-Death-of-a-Salesman-Ends-Broadway-Run-54-Below-Opens-Shakespeare-in-the-Park-Begins/pg2
815
The Hardline / Re: Tech under SPECIAL APPEARANCE AGREEMENT?
« on: Jun 01, 2012, 01:47 am »
As always, check with your rep . .
Yes, the agreement seems to clearly states your rehearsal day is five hours.
So to do a ten out of twelve, the actor would be paid 15.00 an hour - or 75.00 - which doesn't seem to be a tremendous amount.
As far as not having a day off in the week - - - some agreements allow this on opening week, but this one does not seem. You would have to check with AEA on what the rate would be . . . but is could either be straight overtime, some multiple of the overtime rate, or just flat fee.
Yes, the agreement seems to clearly states your rehearsal day is five hours.
So to do a ten out of twelve, the actor would be paid 15.00 an hour - or 75.00 - which doesn't seem to be a tremendous amount.
As far as not having a day off in the week - - - some agreements allow this on opening week, but this one does not seem. You would have to check with AEA on what the rate would be . . . but is could either be straight overtime, some multiple of the overtime rate, or just flat fee.
816
Stage Management: Plays & Musicals / Re: PROMPT BOOK: Your Prompt Book - Left or Right?
« on: May 26, 2012, 10:11 pm »
Wouldn't you always run the risk of having a cue where that middle hole is?
Would drive me crazy.
Would drive me crazy.
817
College and Graduate Studies / Re: Need Help Narrowing Down!
« on: May 23, 2012, 07:52 am »
I also would recommend going to school where you want to work, in general, but New York City can be hard - and maybe the one city to give you pause. Let me play devils advocate for a second - having just gone a round with a university in NYC.
You don't train for war in a war zone.
Making connections in NYC at 18-22 is hard, because you are entering an already flooded market, and you are just another young, inexperienced (resume wise) stage manager, entering the sea of other young, inexperienced (resume wise) stage managers. You may not be able to use those connections to get a step up on the career ladder. I know too many very good, young stage managers caught in the world of PAing - they only make the AEA weeks OUTSIDE of NYC, but in NYC cap out at $400.00 a week. (NYC IS VERY COMPETITIVE)
Also, NYC for example is slighted toward commercial theater - the only job that really pays enough to live off in NYC. If you have no interest in commercial theater, long runs and the world that affords (and I know, at times, Broadway seems very exciting, there is some huge downside). If commercial theater is not your interest . . . and the competitive world that goes with it - then perhaps you might want to go to school in large theatre market but not the specific world of NYC.
You may not like the lifestyle of living in NYC. It's a full time "job" living in the city.
NYC is not for everyone, but luckily it doesn't have to be. There are plenty of other cities you can make a living at doing this job. And ones you can afford to live in and enjoy life.
Now, again, making the connections, learning the city, etc, etc . . . will only help you, but . . . location should not be the ONLY decision to take into consideration.
You don't train for war in a war zone.
Making connections in NYC at 18-22 is hard, because you are entering an already flooded market, and you are just another young, inexperienced (resume wise) stage manager, entering the sea of other young, inexperienced (resume wise) stage managers. You may not be able to use those connections to get a step up on the career ladder. I know too many very good, young stage managers caught in the world of PAing - they only make the AEA weeks OUTSIDE of NYC, but in NYC cap out at $400.00 a week. (NYC IS VERY COMPETITIVE)
Also, NYC for example is slighted toward commercial theater - the only job that really pays enough to live off in NYC. If you have no interest in commercial theater, long runs and the world that affords (and I know, at times, Broadway seems very exciting, there is some huge downside). If commercial theater is not your interest . . . and the competitive world that goes with it - then perhaps you might want to go to school in large theatre market but not the specific world of NYC.
You may not like the lifestyle of living in NYC. It's a full time "job" living in the city.
NYC is not for everyone, but luckily it doesn't have to be. There are plenty of other cities you can make a living at doing this job. And ones you can afford to live in and enjoy life.
Now, again, making the connections, learning the city, etc, etc . . . will only help you, but . . . location should not be the ONLY decision to take into consideration.
818
Stage Management: Plays & Musicals / Re: MUSIC: How much should I be able to read?
« on: May 23, 2012, 07:44 am »
What I think is important is that you are able to visually look at the sheet music and know what's going on.
Relying only on counts for a piece can be difficult. Say, you are in the middle of counting, and something goes wrong on the fly rail . . . you loose count for 7/8, or was is 6/8 . . . where are you in the counts.
Be able to glance on the sheet music and go, on, we are "here" helps a lot.
But there are a lot of tricks that you pick up along the way.
The real goal is to know just as much music as the lighting designer knows.
Relying only on counts for a piece can be difficult. Say, you are in the middle of counting, and something goes wrong on the fly rail . . . you loose count for 7/8, or was is 6/8 . . . where are you in the counts.
Be able to glance on the sheet music and go, on, we are "here" helps a lot.
But there are a lot of tricks that you pick up along the way.
The real goal is to know just as much music as the lighting designer knows.
819
The Green Room / Re: One actor's performance divides a community
« on: May 19, 2012, 01:40 pm »
Unless it was part of the concept, it should have been announced.
It's amazing how quickly an audience will get you behind a performance if they are asked to be included in on the process.
It's amazing how quickly an audience will get you behind a performance if they are asked to be included in on the process.
820
The Green Room / Re: SMASH - the TV series
« on: May 18, 2012, 07:01 pm »
And that's why SMASH is a work of fiction, and not a reality program.
It's drama - and what puts people in the seats is the drama of blow ups, bedding, and crisis - character development good, bad and ugly.
I still would love a reality series of a show being put together . . . .
It's drama - and what puts people in the seats is the drama of blow ups, bedding, and crisis - character development good, bad and ugly.
I still would love a reality series of a show being put together . . . .
821
The Green Room / Re: SMASH - the TV series
« on: May 18, 2012, 01:22 pm »Quote
I wouldn't assume that TV people know what a theatrical stage manager is: or how anything works in the live world of theatre.
Given Theresa Rebeck's involvement - I think a basic understanding is there . . .
822
The Green Room / Re: SMASH - the TV series
« on: May 17, 2012, 09:18 am »
I am pretty sure they all know what a stage manager does, and things like a copyist (who was NOWHERE to be see when writing new music).
It's just that stage management doesn't make thrilling T.V.
"On Tonight's Smash, a dry tech to end all dry techs . . . what will happen when the bedroom set stops moving upstage in a nail biting 15 seconds of terror."
I think the drama of the people is vastly more interesting.
It's just that stage management doesn't make thrilling T.V.
"On Tonight's Smash, a dry tech to end all dry techs . . . what will happen when the bedroom set stops moving upstage in a nail biting 15 seconds of terror."
I think the drama of the people is vastly more interesting.
823
The Green Room / ARTICLE: 8 Ways to Make the Most of Your Internship
« on: May 16, 2012, 10:16 am »824
The Green Room / Re: What do we do?
« on: May 14, 2012, 02:29 pm »
I wrote this over three years ago . . .
God, I live in terror of that question. I recently had to explain it to a bunch of of old friends I reconnected from high school via Facebook. They kept seeing postings about me being in rehearsal, me being in tech, me being tired. I wasn’t thrilled with my answer then, so I am trying to work on the all purpose answer that I can memorize and spit out during cocktail parties.
“So, what do you do?”, asked the other guest at the cocktail party.
And then, without sighing, or rolling my eyes, I will say, with a certain amount of pride, “I work in theater.”
The next sentence will most likely be, “Oh, you are an actor.” Don’t believe me, get dressed and go out to a cocktail party right now, and there can’t be theatre people there, have a drink or two, and wait for someone to come and ask what you do, now answer “I work in theater.” SEE! I told you. (I am not sure if this works in opera and dance. Do they ask if you are a singer? a dancer? I don’t think anyone would ever mistake me for a dancer.)
Okay, so, my real answer should be, “I am a stage manager for theatre”; yes, I have done opera, dance, a lot of events, but most of my time is staging managing theatre. I really like theatre.
Now, 80% of the time, the person you are talking with will have no idea what you a “stage manager does.”
But here are my favorite answers, if they know what stage managers do:
“Oh, I staged managed once in college” – I often want to bring up things I did in college I don’t do now, but in reality, I think it’s best just to answer “Oh, so you get what I do.” Most of the time they don’t, because stage managing in college is so drastically different then the world of professional stage manager – but that’s a different entry.
“Can you get me tickets?” – this is the one like where someone introduced themselves as a doctor, and they start listing off symptoms. Yes, I could probably get you tickets, if I knew you – but since we just met at the cocktail party, I am not about to hand over $150 – $200 worth of tickets to you. I had a cab driver once, after asking what I did, ask for comps. I asked if we could comp my ride. He laughed and he dropped the subject.
“What’s your real job?” – as if the 80 hours a week I do at stage management isn’t “real” enough. I am very lucky in that I have been able to support myself, and support myself well staging managing for the past 15-plus years. I took some time off when I thought I was going to give up theatre, but theatre is a harsh mistress, and yanked me back in. This is my real job.
Okay, so, let’s say people don’t have any idea of what my job is, and that line at the bar is way too long for me to duck out and get another drink, and there is really no one else to talk to, that’s the answer I want to be able to give. So, a deep breath . . .
“I work for a producer, along side the director – from before a show starts rehearsal, through the rehearsal process, and then tech, previews, opening, understudy rehearsal . . . wait, wait, wait . . . I am getting ahead of myself. My job is to help realize the director’s and designers’ vision, making sure that the rehearsal process is within the confides of the production process (budget, union regulations), communicate with those who are not in the rehearsal hall (but are working on the production), keep the working atmosphere light, focus and safe (both physically and psychologically) . . . (Another deep breath, and a sip of my drink) . . . always keeping an eye on how to bring alive the vision in a safe, sane, and repeatable way during the run and how to tech the vision within the limitations given. I had some supervision responsibilities with the cast and crew, although I am (usually) not given the power to hire or fire. I have one leg firmly in the technical side of things, and another leg in the artistic side of things – as one of my responsibilities is to maintain the shows artistic intentions. After weeks of rehearsal in the hall, my job kicks it up a notch, and I am given the responsibilities of integrating all the technical elements into the show that we rehearsed in the rehearsal hall . . . spending hours on moments, transitions, and effects (This is where I can mention I once spent 14 hours teching the first four minutes of a show). My job is to push tech forward, noting where cues happen by marking them in my “calling script” (so I can repeat it every performance), and always trying to anticipate and solve issues as they arise, or hopefully, before they arise. Then, we start to preview . . . which means we continue to rehearse and tech, but perform in the evening, all leading to an opening night. At which point, the director and designers move on to the next show, and I then I spend the rest of the run “Calling the show” – which is the term used for me sitting in the booth, or backstage, calling the cues – telling everywhere where the light cues, sound cues, scene changes, etc – happen – while serving as a general supervisor and manager for the production.”
And by this point, I am pretty sure their eyes would be glazed over by now. And they would most likely excuse themselves to get another drink, or see someone else they wanted to talk to, or perhaps fake some sort of medical situation in which they would have to be rushed away.
At the end of the day, it’s really hard to say what I do for a living. I help make theatre. There are a lot of things I know I do . . . but a good stage manager rises above the list of things we do (Call a show, run rehearsal, create lists, tech a show) and becomes a vital part of the show. What I find magical about working in theatre, is that on those special shows, the ones you remember, it becomes oddly more then the sum of the parts. I believe a stage manager has a lot to do with that (of course, being a stage manager, I think pretty highly of my position.) Early in my career, I thought a good stage manager could add to a show, but a bad stage manager could be worked around. I took some time off stage managing, and I directed, and worked with some good stage managers and some bad stage managers. I can honestly say, a bad stage manager has a way of weighing down a production.
Although not technically part of my job, I firmly believe in creative the more positive atmosphere I can for work. I want people to come into work, I want them to give their best, and I want them to want to give 100% when the come in. You want to want an actor to stay with a show – especially when you sit down and figure out the cost or replacing an actor – both in money and the emotional toll on a cast.)
So, I don’t have an easy answer to what I do.
I could just say “I say ‘go’ for a living.”
God, I live in terror of that question. I recently had to explain it to a bunch of of old friends I reconnected from high school via Facebook. They kept seeing postings about me being in rehearsal, me being in tech, me being tired. I wasn’t thrilled with my answer then, so I am trying to work on the all purpose answer that I can memorize and spit out during cocktail parties.
“So, what do you do?”, asked the other guest at the cocktail party.
And then, without sighing, or rolling my eyes, I will say, with a certain amount of pride, “I work in theater.”
The next sentence will most likely be, “Oh, you are an actor.” Don’t believe me, get dressed and go out to a cocktail party right now, and there can’t be theatre people there, have a drink or two, and wait for someone to come and ask what you do, now answer “I work in theater.” SEE! I told you. (I am not sure if this works in opera and dance. Do they ask if you are a singer? a dancer? I don’t think anyone would ever mistake me for a dancer.)
Okay, so, my real answer should be, “I am a stage manager for theatre”; yes, I have done opera, dance, a lot of events, but most of my time is staging managing theatre. I really like theatre.
Now, 80% of the time, the person you are talking with will have no idea what you a “stage manager does.”
But here are my favorite answers, if they know what stage managers do:
“Oh, I staged managed once in college” – I often want to bring up things I did in college I don’t do now, but in reality, I think it’s best just to answer “Oh, so you get what I do.” Most of the time they don’t, because stage managing in college is so drastically different then the world of professional stage manager – but that’s a different entry.
“Can you get me tickets?” – this is the one like where someone introduced themselves as a doctor, and they start listing off symptoms. Yes, I could probably get you tickets, if I knew you – but since we just met at the cocktail party, I am not about to hand over $150 – $200 worth of tickets to you. I had a cab driver once, after asking what I did, ask for comps. I asked if we could comp my ride. He laughed and he dropped the subject.
“What’s your real job?” – as if the 80 hours a week I do at stage management isn’t “real” enough. I am very lucky in that I have been able to support myself, and support myself well staging managing for the past 15-plus years. I took some time off when I thought I was going to give up theatre, but theatre is a harsh mistress, and yanked me back in. This is my real job.
Okay, so, let’s say people don’t have any idea of what my job is, and that line at the bar is way too long for me to duck out and get another drink, and there is really no one else to talk to, that’s the answer I want to be able to give. So, a deep breath . . .
“I work for a producer, along side the director – from before a show starts rehearsal, through the rehearsal process, and then tech, previews, opening, understudy rehearsal . . . wait, wait, wait . . . I am getting ahead of myself. My job is to help realize the director’s and designers’ vision, making sure that the rehearsal process is within the confides of the production process (budget, union regulations), communicate with those who are not in the rehearsal hall (but are working on the production), keep the working atmosphere light, focus and safe (both physically and psychologically) . . . (Another deep breath, and a sip of my drink) . . . always keeping an eye on how to bring alive the vision in a safe, sane, and repeatable way during the run and how to tech the vision within the limitations given. I had some supervision responsibilities with the cast and crew, although I am (usually) not given the power to hire or fire. I have one leg firmly in the technical side of things, and another leg in the artistic side of things – as one of my responsibilities is to maintain the shows artistic intentions. After weeks of rehearsal in the hall, my job kicks it up a notch, and I am given the responsibilities of integrating all the technical elements into the show that we rehearsed in the rehearsal hall . . . spending hours on moments, transitions, and effects (This is where I can mention I once spent 14 hours teching the first four minutes of a show). My job is to push tech forward, noting where cues happen by marking them in my “calling script” (so I can repeat it every performance), and always trying to anticipate and solve issues as they arise, or hopefully, before they arise. Then, we start to preview . . . which means we continue to rehearse and tech, but perform in the evening, all leading to an opening night. At which point, the director and designers move on to the next show, and I then I spend the rest of the run “Calling the show” – which is the term used for me sitting in the booth, or backstage, calling the cues – telling everywhere where the light cues, sound cues, scene changes, etc – happen – while serving as a general supervisor and manager for the production.”
And by this point, I am pretty sure their eyes would be glazed over by now. And they would most likely excuse themselves to get another drink, or see someone else they wanted to talk to, or perhaps fake some sort of medical situation in which they would have to be rushed away.
At the end of the day, it’s really hard to say what I do for a living. I help make theatre. There are a lot of things I know I do . . . but a good stage manager rises above the list of things we do (Call a show, run rehearsal, create lists, tech a show) and becomes a vital part of the show. What I find magical about working in theatre, is that on those special shows, the ones you remember, it becomes oddly more then the sum of the parts. I believe a stage manager has a lot to do with that (of course, being a stage manager, I think pretty highly of my position.) Early in my career, I thought a good stage manager could add to a show, but a bad stage manager could be worked around. I took some time off stage managing, and I directed, and worked with some good stage managers and some bad stage managers. I can honestly say, a bad stage manager has a way of weighing down a production.
Although not technically part of my job, I firmly believe in creative the more positive atmosphere I can for work. I want people to come into work, I want them to give their best, and I want them to want to give 100% when the come in. You want to want an actor to stay with a show – especially when you sit down and figure out the cost or replacing an actor – both in money and the emotional toll on a cast.)
So, I don’t have an easy answer to what I do.
I could just say “I say ‘go’ for a living.”
825
The Hardline / Re: Script rewrites
« on: May 12, 2012, 11:54 am »
About the updating the script.
I have always counted in my work week (but not necessarily in my rehearsal week).
On the LORT contract, we have the following . . .
(J) Production Script.
(1) It is agreed that it is the duty of the Stage Manager to assemble and maintain the production script for the actual technical and artistic operation of the production and that the production script remains the property of the Theatre.
(2) No Stage Manager or Assistant Stage Manager will be required to prepare any additional production script or book for publication or archival purposes or for use in any other production of the play or musical.
(3) In the event the Theatre does request a Stage Manager or Assistant Stage Manager to prepare an additional script or alter the script for any of the above purposes, the Stage Manager or Assistant Stage Manager may agree provided that he is paid no less than $350.00 for each such preparation.
So the argument is . . . is the actor's script the same as the production script. I worked at a theatre where the script was laid out in a certain way, and the paperwork involved in tracking changes was like desktop publishing, and was pushing me into overtime - we reassigned it to the Artistic Department. On my current show, since it's pretty basic line changes - it's all with in our work week (and I have a fantastic staff member who is handeling it).
You have to make the decision about what type of SM you are going to be and how much you want to bill for a not (that's a general SM thing). I don't mind doing it - as long as it doesn't take me away from other things - OR - if it is the MOST important thing in the room.
I have always counted in my work week (but not necessarily in my rehearsal week).
On the LORT contract, we have the following . . .
(J) Production Script.
(1) It is agreed that it is the duty of the Stage Manager to assemble and maintain the production script for the actual technical and artistic operation of the production and that the production script remains the property of the Theatre.
(2) No Stage Manager or Assistant Stage Manager will be required to prepare any additional production script or book for publication or archival purposes or for use in any other production of the play or musical.
(3) In the event the Theatre does request a Stage Manager or Assistant Stage Manager to prepare an additional script or alter the script for any of the above purposes, the Stage Manager or Assistant Stage Manager may agree provided that he is paid no less than $350.00 for each such preparation.
So the argument is . . . is the actor's script the same as the production script. I worked at a theatre where the script was laid out in a certain way, and the paperwork involved in tracking changes was like desktop publishing, and was pushing me into overtime - we reassigned it to the Artistic Department. On my current show, since it's pretty basic line changes - it's all with in our work week (and I have a fantastic staff member who is handeling it).
You have to make the decision about what type of SM you are going to be and how much you want to bill for a not (that's a general SM thing). I don't mind doing it - as long as it doesn't take me away from other things - OR - if it is the MOST important thing in the room.