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872
Students and Novice Stage Managers / Re: Stage Managing for Disney
« on: Mar 06, 2012, 08:07 pm »
Other things to take in consideration for Disney - Stage Management is not considered strictly management - although it depends on the show. You are more a cue caller. They have show directors that maintain most of the shows. You are swapped out alot. To keep people from going into overtime, and to have up to ten shows a day for some attractions, you need to be replaceable. Which also means, everyone needs to manage the "Disney" way, so there is a lot of compromising of individual style.
Like most commercial ventures, they are EXTREMELY bottom line conscious and very cooperate. You will also find that you will be trapped between various departments a lot, specially when you are doing a well established show. (Like a special event, a temporary show, etc.)
Also, there is the fact you are dealing with a certain level of talent - because they need so much talent, not all of it going to be GREAT, and often they are very, very young.
I have a few friends who launched great careers with the parks.
Like most commercial ventures, they are EXTREMELY bottom line conscious and very cooperate. You will also find that you will be trapped between various departments a lot, specially when you are doing a well established show. (Like a special event, a temporary show, etc.)
Also, there is the fact you are dealing with a certain level of talent - because they need so much talent, not all of it going to be GREAT, and often they are very, very young.
I have a few friends who launched great careers with the parks.
873
The Hardline / Re: Multiple LORT contracts and Health Insurance Weeks
« on: Mar 05, 2012, 06:37 pm »
Check with you business rep contract in hand . . .
I have heard of several options . . . .
1) You are employed 12 weeks total, you get 12 weeks Salary + 12 Weeks Pension + 12 Weeks health car.
2) You are employed 7 weeks on one contract, 7 weeks on another contract (but the still the entire contract covers only 12 calendar weeks), have had people paid 14 weeks + 14 weeks pension + 14 weeks healthcare.
3) And this one, which I always found odd You are employed 7 weeks on one contract, 7 weeks on another contract (but the still the entire contract covers only 12 calendar weeks), have had people paid 14 weeks + BUT JUST 12 weeks pension + 12 weeks healthcare.
But, it all depends on the contract.
Also, remember, I believe you 12 weeks to qualify for 6 months insurance - and there s a very complicated process, so that even if you got the 12 weeks, it could be up to six months AFTER that until the insurance kicks in. Read the health insurance information at http://www.equityleague.org/
I have heard of several options . . . .
1) You are employed 12 weeks total, you get 12 weeks Salary + 12 Weeks Pension + 12 Weeks health car.
2) You are employed 7 weeks on one contract, 7 weeks on another contract (but the still the entire contract covers only 12 calendar weeks), have had people paid 14 weeks + 14 weeks pension + 14 weeks healthcare.
3) And this one, which I always found odd You are employed 7 weeks on one contract, 7 weeks on another contract (but the still the entire contract covers only 12 calendar weeks), have had people paid 14 weeks + BUT JUST 12 weeks pension + 12 weeks healthcare.
But, it all depends on the contract.
Also, remember, I believe you 12 weeks to qualify for 6 months insurance - and there s a very complicated process, so that even if you got the 12 weeks, it could be up to six months AFTER that until the insurance kicks in. Read the health insurance information at http://www.equityleague.org/
874
Students and Novice Stage Managers / Re: Dealing with rude emails
« on: Mar 03, 2012, 10:34 pm »
To solve the email issue, like Nick, I send all emails to me, and blind cc everyone else - it keeps the Repsond All issue to minimum and then I know when these go out.
And then given the photo call being moved, it might have been best to contact the person directly - via phone and not email - since you probably needed to check to see if they are available. I don't think the tone is actually that rude - trust me, I have gotten much ruder for things that were NOT my fault.
I think you have to understand when someone is angry, put out, etc, it may came across as something rude . . . but what you are reading is anger, frustration, and they need someplace to vent it.
And then given the photo call being moved, it might have been best to contact the person directly - via phone and not email - since you probably needed to check to see if they are available. I don't think the tone is actually that rude - trust me, I have gotten much ruder for things that were NOT my fault.
I think you have to understand when someone is angry, put out, etc, it may came across as something rude . . . but what you are reading is anger, frustration, and they need someplace to vent it.
875
Employment / Re: Networking in new city
« on: Feb 25, 2012, 12:43 am »
Hello . . . 2 years ago, I picked up from Washington DC (Home for six years) and moved to NYC. I can speak for my experience - and I do know that NYC is different then any other market (both by the number of jobs and the number of SMs).
First, I moved with a job in hand. So, I instantly made contacts. Also, it's easier to find the next job if you are currently employed.
You will be amazed by home many people you know already in the new town. Maybe just one or two; but that will quickly grow.
Don't every apologize about the networking. I remember a great letter from a Broadway SM I cold sent a resume to - where I was sort of apologetic about the cold send - he wrote back and said, we all do it - and in fact a cold send of a resume is what landed his job on that show.
First, I moved with a job in hand. So, I instantly made contacts. Also, it's easier to find the next job if you are currently employed.
You will be amazed by home many people you know already in the new town. Maybe just one or two; but that will quickly grow.
Don't every apologize about the networking. I remember a great letter from a Broadway SM I cold sent a resume to - where I was sort of apologetic about the cold send - he wrote back and said, we all do it - and in fact a cold send of a resume is what landed his job on that show.
876
Self-Promotion / Re: THE TOTAL BENT
« on: Feb 24, 2012, 09:53 am »
It's the day of the show people . . .
http://www.playbill.com/news/article/160000-Stew-and-Heidi-Rodewalds-The-Total-Bent-Debuts-at-the-Public-Feb-24
http://www.playbill.com/news/article/160000-Stew-and-Heidi-Rodewalds-The-Total-Bent-Debuts-at-the-Public-Feb-24
877
Students and Novice Stage Managers / Re: Being friends with the SM
« on: Feb 23, 2012, 12:37 pm »
Being friends with ALL the cast and crew seems to be a very odd style. I think it can complicated your relationship with an actor, and end up making you job more difficult - especially in situations where you may have to reprimand the actor. If your management style requires the actor "to be on your side" - or "do this as my friend", then it might be wise in how to evolve your management style - end of the day, there maybe people who don't want to be your friend, or you can't strike a friendship with. I find it odd that as a stage manager you want make it a priority to "be friends with all" and "socialize" with all - I don't have the time, energy or the interest.
I would actually encourage a younger stage manager to NOT socialize with the cast or crew - have a life outside of work. Come in, be friendly, social and work - but outside of work not involve the cast and crew. I think this can develop into a very healthy career pattern where your entire identity is not wrapped up in your career. As you become more comfortable with your management style and leadership abilities . . . then maybe you can socialize.
I like to, for example, take my team out to a meal during pre-production, drinks during tech, and then do the opening and closing parties - and that seems like enough.
I like having work relationships stay at work - which doesn't mean I am cold (those that now me) - I just find that regardless of how "fair" and "equal" you may try to be, it often doesn't work out that way.
I would actually encourage a younger stage manager to NOT socialize with the cast or crew - have a life outside of work. Come in, be friendly, social and work - but outside of work not involve the cast and crew. I think this can develop into a very healthy career pattern where your entire identity is not wrapped up in your career. As you become more comfortable with your management style and leadership abilities . . . then maybe you can socialize.
I like to, for example, take my team out to a meal during pre-production, drinks during tech, and then do the opening and closing parties - and that seems like enough.
I like having work relationships stay at work - which doesn't mean I am cold (those that now me) - I just find that regardless of how "fair" and "equal" you may try to be, it often doesn't work out that way.
878
Stage Management: Plays & Musicals / Re: POLICIES: Responsibility breakdown
« on: Feb 20, 2012, 02:51 pm »Quote
It felt like every time something came up which I would expect the TD to be responsible for I ask them to do it only to be told that was my responsibility or the Master Carpenters responsibility.
I have to tell you, every show, every theater will be different. Some theaters what the TD to deal with things until the show opens, then the master carpenter takes over - some expect at load in for the Maste Carpenter to take over. It's always best to feel these things out, or ask ahead of time.
It's always a challenge to figure it out . . .
879
College and Graduate Studies / Re: Compilation of grad schools
« on: Feb 13, 2012, 11:40 pm »
BroadwayWorld.com's College Center is missing quite of few programs . . .
880
Stage Management: Plays & Musicals / Re: POLICIES: Standard policies for a SM's authority?
« on: Feb 12, 2012, 11:05 am »
There are a lot of stage managers who would like to think they are the "Authority" or Power, but reality, using words like "responsible" or "leader" are perhaps better, but at the end of the day we are just middle management, easy to have some one step in above us.
I feel like any stage manager who demand "authority" (ala Respect My Authoritah!), is reaching for a last straw - and sometimes we all get there - but if we are demanding it, we will find how little we have.
We don't have the power to hire or fire, but we do have the ears of lots of people who do. We do document the show for the producers, so we are indeed starting a paper trail for those people who make decisions "I see here, by the SM's reports you were late four times to show calls . . . ".
Directors in the professional world are a very trick bunch, and if a director wants to come back note, tweak, change a show after opening, I really bump it up to the producer. In the heat of the moment, I would defer to a director - but that's because it's usually a director who will get me hired. (Now, safety trumps all of this . . . I will not do anything unsafe). Now, if a producer wants me to do something . . . well, again, as long as it's safe, they are paying me, they are the boss. NOW, I will, in all of these cases explain the situation and what their choice and request may require . . . "Oh, you want us to drop 500% more glitter on stage, you do that will require another hour of clean up, and put us in overtime, meal penalty and, even then, we might not be set for the evening show . . ."
It's very heard to remain a leader for a show, when you have a level of management above you that steps in (and often times seems to under mind your authority) - just remember, that you probably never had it to begin with.
That's why parenthood is good training for stage management - responsible for, never in complete control of . . ."
As far as someone else calling cues, there are, on some contracts an AEA rule stating that only a SM will call cues except in the case an emergency.
I feel like any stage manager who demand "authority" (ala Respect My Authoritah!), is reaching for a last straw - and sometimes we all get there - but if we are demanding it, we will find how little we have.
We don't have the power to hire or fire, but we do have the ears of lots of people who do. We do document the show for the producers, so we are indeed starting a paper trail for those people who make decisions "I see here, by the SM's reports you were late four times to show calls . . . ".
Directors in the professional world are a very trick bunch, and if a director wants to come back note, tweak, change a show after opening, I really bump it up to the producer. In the heat of the moment, I would defer to a director - but that's because it's usually a director who will get me hired. (Now, safety trumps all of this . . . I will not do anything unsafe). Now, if a producer wants me to do something . . . well, again, as long as it's safe, they are paying me, they are the boss. NOW, I will, in all of these cases explain the situation and what their choice and request may require . . . "Oh, you want us to drop 500% more glitter on stage, you do that will require another hour of clean up, and put us in overtime, meal penalty and, even then, we might not be set for the evening show . . ."
It's very heard to remain a leader for a show, when you have a level of management above you that steps in (and often times seems to under mind your authority) - just remember, that you probably never had it to begin with.
That's why parenthood is good training for stage management - responsible for, never in complete control of . . ."
As far as someone else calling cues, there are, on some contracts an AEA rule stating that only a SM will call cues except in the case an emergency.
881
Stage Management: Plays & Musicals / Re: SHOWS: Chicago
« on: Feb 08, 2012, 07:06 pm »
the musical I am working on has spoken words that need to be timed off physical actions; the actor is trapped in a booth and can't see the action. Seriously, I have more tech support then I need - a rehearsal with both a sound engineer/mixer and an A2 . . . a cue light is nothing.
882
Stage Management: Plays & Musicals / Re: SHOWS: BIG LOVE
« on: Feb 08, 2012, 06:27 pm »
I have been around this show twice, but when i stage managed . . .
we built a fake wedding cake, with a section cut out - we put real cake in the section cut out - and blended the frosting. I think we used half-a-cake a night.
We bought dishes, and broke them every night - we went through the option of unfired greenware, but eventually bough cheap, white restaurant plates, and threw them down into the vom into a plate catch unit. (A huge wall piece, with a box to catch the pieces.) We also did the saw blades, so everyone got very good at throwing with aim.
The blood for our production was very, very complicated - we did a line of mannequins for the unnamed men and them women pulled off their jackets, punched through their chest, pulled out 30 foot china silk pieces and ran downstage with them. Then, one of them was killed in the bathtub, and we pumped blood into the bath tub. (We were doing the show in 3/4 thrust, with most of the audience looking down on stage.)
Men entering . . . http://www.stagemanager.net/Stagemanager.net/Photos.html#187
Women pulling out china silk . . . http://www.stagemanager.net/Stagemanager.net/Photos.html#188
Vison of the end play . . .http://www.stagemanager.net/Stagemanager.net/Photos.html#189
we had a 90 minute pre-set, 85 minute run time, and 90 min to 2 hour post-show clean up.
we built a fake wedding cake, with a section cut out - we put real cake in the section cut out - and blended the frosting. I think we used half-a-cake a night.
We bought dishes, and broke them every night - we went through the option of unfired greenware, but eventually bough cheap, white restaurant plates, and threw them down into the vom into a plate catch unit. (A huge wall piece, with a box to catch the pieces.) We also did the saw blades, so everyone got very good at throwing with aim.
The blood for our production was very, very complicated - we did a line of mannequins for the unnamed men and them women pulled off their jackets, punched through their chest, pulled out 30 foot china silk pieces and ran downstage with them. Then, one of them was killed in the bathtub, and we pumped blood into the bath tub. (We were doing the show in 3/4 thrust, with most of the audience looking down on stage.)
Men entering . . . http://www.stagemanager.net/Stagemanager.net/Photos.html#187
Women pulling out china silk . . . http://www.stagemanager.net/Stagemanager.net/Photos.html#188
Vison of the end play . . .http://www.stagemanager.net/Stagemanager.net/Photos.html#189
we had a 90 minute pre-set, 85 minute run time, and 90 min to 2 hour post-show clean up.
883
Stage Management: Plays & Musicals / Re: SHOWS: Chicago
« on: Feb 08, 2012, 03:19 pm »
for a show being mixed live and having playback cues, there are usually only two options -
either have the operator take them on the own
or
the cue light
I have a very inexpensive cue light system in my rehearsal hall right now (don't ask why I need a cue light in the rehearsal hall) but it's two run lights plugged into an extension cord run to a surge protector that has a light up on/off switch. On the cheap, easy, and works for something basic. Usually the LX department can rig up something VERY quickly for a SM.
either have the operator take them on the own
or
the cue light
I have a very inexpensive cue light system in my rehearsal hall right now (don't ask why I need a cue light in the rehearsal hall) but it's two run lights plugged into an extension cord run to a surge protector that has a light up on/off switch. On the cheap, easy, and works for something basic. Usually the LX department can rig up something VERY quickly for a SM.
884
Stage Management: Plays & Musicals / Re: SHOWS: Chicago
« on: Feb 08, 2012, 01:37 pm »
You are going to have a lot to do with the light cues, maybe giving up the sound cues is the way to go. As far as syncing things up, it wouldn't be much different then calling cues off a live performer, right? And if you go into tech knowing this, there are tricks around it.
I would recommend you set up a cue light to your mixer / sound operator, so if you need to cue, you can cue via the cue lights.
And adding in sound cues the last rehearsal is nothing, by then you will know the lights. (I once had to call spot cues for an Opera - that were added mid way through Act 2 of the final dress - so opening night, four spot ops who had never seen the show, talking them through.)
Let it go, since everyone, including yourself, thinks the sound op has a chance at making this work.
I would recommend you set up a cue light to your mixer / sound operator, so if you need to cue, you can cue via the cue lights.
And adding in sound cues the last rehearsal is nothing, by then you will know the lights. (I once had to call spot cues for an Opera - that were added mid way through Act 2 of the final dress - so opening night, four spot ops who had never seen the show, talking them through.)
Let it go, since everyone, including yourself, thinks the sound op has a chance at making this work.
885
Self-Promotion / Re: THE TOTAL BENT
« on: Feb 07, 2012, 11:49 pm »
it is really the truth . . . and not some PR spin.
the entire public lobby has been under construction for over a year.
the entire public lobby has been under construction for over a year.