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Messages - MatthewShiner

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856
The Green Room / Re: When is it abuse?
« on: Mar 21, 2012, 06:44 pm »
It's abuse when you feel abused.

I get yelled towards a lot, and don't take it personally at all.

Once they are done, we move on.


857
The Green Room / Re: What's next?
« on: Mar 18, 2012, 02:42 pm »
Something where I could go to the bathroom when I wanted.

Teaching.
Production Management.
Company Management / General Management (more interested in this in the commerical world)
House Wife

Rescue dogs - this is part of my retirement plan. 


But, I actually see myself doing this for awhile longer.



858
My advice . . . volunteering to do a show for no/little pay seems odd?

Do waiters wait tables for free?

Do bankers pick up hours for free?

Once you take a job for free (or very low pay) - be careful it brands you.  You want to use them to make connections, great - but what you did was make connections with people who don't pay stage managers with a theater company that once you put on your resume says, oh, this SM is at this level in NYC - she'll work for 100.00 a week, why pay her 1,000.00

The showcases are sort of an endless trap here in NYC, and should be banished - but they do give a chance for actors to continue to ply their trade.  And SM's as well, but given you have LORT experience, do you think volunteer for a no-budget/low-budget show is going to help take you to the next level - or do you need to work on your skills of how to work in a frustrating work environment?  ;-)

And, now that you are attached to a showcase, are you going to be able to drop everything if a paid gig is offered to you, or will you want to honor your commitment to the production?  (Which leads to the questions what is you level of commitment to a low/no paying volunteer stage management opportunity?)

Because the market in NYC is flooded, young SMs are desperate to get a gig, any gig - and you have to be honest with yourself about what the benefits versus the liabilities of any project.  Is it better the PSM for no pay, or be a PA for some pay?  This show may have legs, so let's get in on the ground floor?  I have a friend who is directing and this is a personal favor on the four weeks between gigs.  Do I need more ASM credits, or should I push forward on SM.  What do I want to get branded as.

As someone who just rant thru 20 vetted resumes and interviews, you want to be able to stand out . . . when ever I am considering a career move (not just a job, but the next step in my career - hell, sometimes even a job), I open my resume, add the gig and look at the whole picture - does this help me, does this hurt me - look at it from a business proposition.  How will this help me in the future.

Also, you need to be careful in taking lower paying jobs as it might screw with your unemployment. 

Yes, there such a thing as a wrong show or wrong theater company or a wrong gig - but what is wrong for me, may not be wrong for you.  Ultimately, you are always going to know your situation best - so you have to trust your gut.   





859
Great advice!!!!

860
What complicates matter is this search happened a couple of years back, I understand.

I believe it's a complicated position to fill.

861
Students and Novice Stage Managers / Re: Mentorship Program
« on: Mar 12, 2012, 10:09 pm »
Quote
I would love to see how Matthew's trial run worked out. I'd love to have him post right after this to say that it was super successful, but the silence from the western front tells me it probably petered out about 6 weeks after it started.

It was not super successful, but it was not a crash and burn.

I think the main problem is a mentor really needs to see the young stage manager in action, and outside of an internship or employment, that is difficult.  It ends up being a situation where you offer more generic advice based on the students self assessment on situations.  And that can lead to problems.  Because I didn't know the people that well, I found myself pulling back on how I would normally push someone if they were my student or intern, or I new the entire story.

What we forget is the the entire SMNetwork it self is a mentor to young stage managers - and we should continue to put efforts into that.  We are already mentoring each other.

What a younger stage manager maybe looking for is that golden ticket, someone to take them under the wing, and help them quickly up the ladder of success . . . I am not sure a lot of us are in the position to or would want to offer that.

I think what may be better for an internet forum is to foster and advertise members who may be open to offer more personal and offline advice on such things as resumes, choosing a school, interpersonal work issues, etc - and offer a much shorter time commitment for that relationship to play out.  For example, I would be willing to work with someone for a week on putting together a resume, but committing to six months for a more generic internship is more problematic.

Also, as a working stage manager you often have staff you are already responsible for mentoring - so besides just your 60-80 work load, you may have day to day mentoring to do.

I think there are also trust issues - I would say maybe 10 people in this network know me or have worked with me.  What would make me a good mentor over someone else?  Because I have a lot of posts online . . . maybe not.

I would strongly encourage members to reach out to other members, meet for coffee, network on their own, and start to form personal, real world business connections.  By meeting people, you can start to develop your own opinion about individuals, who you can trust, who you want to go to for advice, etc.  (I try to make time for each and every "young stage manager" who wants to get together for coffee . . . ). 

Those are my thoughts.


862
The Hardline / Re: AEA Set Moves
« on: Mar 12, 2012, 01:39 pm »
It does depend on the contract . . .

And note, the pay on the LORT contract for a per set move is VERY low . . .

864
Which scene is Brutus carrying the notepad?  Will he need a place on his costume to get the note pad?  Does it need to be a period notepad?  What size?  What color paper?  Does it need to be spiral bound?  Does he need a writing instrument?  Pencil or Pen?  What color pen?  Does it need to be a period pen?  Is it a Quill?  Does he need an inkwell?  Does the inkwell need a cap?  Should costumes be consulted on the type of ink to make sure it can be washed out of the costume?  How many pieces of paper will he write on onstage?  Does it need to be in Latin?  Can we get a the dramaturg to give Nick (the actor playing Brutus) and Andrew (his understudy) written Latin lessons for the writing on the notepad?  Do we have in the budget for replace the notebook every eighth performance? 

Stage manager needs to be able to turn and off the record player from in the booth.

865
Employment / Is this the right job for you . . .
« on: Mar 10, 2012, 01:56 pm »
10 hours after my current show closes, I start a four week interview/meeting fest - that is all about helping me figure out what I want to be when I grow up.  I am teaching for a week, interviewing for at least one, possible two academic jobs, having a meeting about a big regional co-production, a possible meeting about a future regional - commercial transfer, a interview for a resident PSM gig . . . basically trying to figure out my options if indeed the lifestyle of freelance is NOT the right one for me.  I am trying to figure out my options

Here's a quick little chart that I ran across, that although not complete, may given you some thought we making some decisions.

http://lifehacker.com/5891909/the-one+page-career-cheat-sheet-helps-you-figure-out-if-this-is-really-the-right-job-for-you

867
The Hardline / Re: AEA Set Moves
« on: Mar 08, 2012, 10:17 pm »
If you look at the wording of the rule

Quote
(B) An Actor out of character may set or move scenery or props only in scenes in which the Actor enters or exits.


It doesn't read AS they enter or exit.  So, you can read that it's by the scene - and that is how the AEA rep was quoting this back.  That was the argument.  It came up when I took over the show - there were three moves, two were let in by that rule, one ended up being paid.

But, call your rep . . . .



868
The Hardline / Re: AEA Set Moves
« on: Mar 08, 2012, 07:40 pm »
Depends on your business rep - in Shakespeare I have had it approved for an actor to do a scene - exit, thus finishing his acting for the scene, and then come in two pages later for the scene changed.  All approved. 


869
Self-Promotion / As You Like It
« on: Mar 08, 2012, 05:48 pm »
More info on my next gig . . .

http://www.playbill.com/news/article/160503-Public-Theater-Confirms-Park-Dates-for-Into-the-Woods-and-As-You-Like-It-Steve-Martin-Will-Provide-Twang

Daniel Sullivan, Lily Rabe and Steve Martin . . . yes, please.

Plus, it's the 50th Anniversary of the Delacorte and Shakespeare in the Park.


870
A smaller theatre company in DC, but Theater of the First Amendment to close.



http://www.theatermania.com/washington-dc/news/03-2012/george-mason-universitys-theater-of-the-first-amen_51953.html

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