Messages

91

Stage Management: Plays & Musicals / Re: REHEARSALS: Giving line notes

« on: Jun 01, 2010, 03:22 pm »

Normally during a two-run day I would hand out line notes right after the first run, then hand out a second set after the second run.  I’ve never been asked to email line notes.  For me it would be an extra step that takes longer to process, since I take the notes by hand during the run and distribute the same pieces of paper.  I would talk to the director (or whoever asked you to do this by email) about just handing out paper line notes for the first run, so the actors have the option of looking at them before the next run, and then emailing notes for the second run only.  I think Matthew makes a good point about  adapting to the actors’ needs as far as what to make note of.  But if there aren’t any special requests, I generally note every mistake during normal rehearsals if I can write fast enough to do so, since I can’t always remember whether the actor has made the same mistake before.  I guess if I was forced to email line notes after the day’s end, yes, I would note a mistake made in the first run even if it was corrected in the second.   

92

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Director and Producer don't get along

« on: May 28, 2010, 04:54 pm »

I’d try to talk with them each, separately, outside of rehearsal, before the next blow-up happens.  Since you think they’re aware that this isn’t a good situation, ask what their solutions would be on how to work through their differences less publicly.  Maybe they can agree to exchange written notes instead of discussing things during rehearsals, or plan to hold their notes to the end and talk then in private.  Maybe the three of you could have a code word or gesture that you can use if they’re in front of others and begin to raise their voices, if they’ll agree that on your single they’ll get back to business and save the rest of the argument for another time.  You could also talk about how their negative energy affects those who are around them, and in the interest of keeping things positive, you’d like to call a break if you sense things are getting heated.   Perhaps there is another neutral party they both respect, who is involved with the production or theater, and could mediate in some way.

Some personality conflicts are just beyond the SMs ability to solve.  If that’s the case, I’d do my best to stay in touch with actors and crew, to lighten their mood as much as possible. You can at reassuring them that the director & producer have personal differences, and this isn’t about the quality of the show or anyone in it.

93

Stage Management: Plays & Musicals / Re: REHEARSALS: Director makes a poor decision of a character

« on: May 28, 2010, 12:49 pm »

Theater is subjective, so it’s not working and it’s entirely wrong in your opinion.  Apparently it is working in the directors opinion, or as Scott says, it will work given more rehearsals.  You could offer constructive suggestions related to something  concrete that might help a moment work better, such as “would you prefer to have the actor move the prop before that line?”  Or “would it help to have me Q the actor to enter sooner?”  You could even ask the director why they are giving a certain direction or how they want a scene to be played (along the lines of your need to maintain the show after opening) and see if that clarifies things for you, or opens the door to a constructive conversation. 

But I think it’s unproductive for an SM to judge the director’s vision as right or wrong.  The director will be hearing plenty of alternate opinions about their work from the producers, designers, dramaturg, playwright, and others involved in the process.  The SM should be as objective and supportive as possible, IMHO.

94

Stage Management: Plays & Musicals / Re: REHEARSALS: Understudy should do part exactly like the original actor?

« on: May 28, 2010, 11:34 am »

Yes, I’d say that normally the understudy is supposed to play the part as closely to the original actor’s performance as possible.  It sounds like the director is still present, and has seen the U/S perform.  If that’s the case, and it’s not bothering the director, I wouldn’t worry about it.  You may just be used to seeing the original actor, whereas an audience seeing just the U/S without a point of comparison would buy their performance.  The U/S might also improve with more rehearsal, naturally making the nuances their own without changing the intentions.   Is this understudy definitely scheduled to perform, and how many times?  If the actors the U/S is playing with are bothered by the differences, perhaps they could work together to make a small adjustments.  But if the gag is carefully choreographed, you may need to change more than a few things for the overall effect to be the same, and that process can be tricky without the director. 

95

The Hardline / Re: AEA Accident Report Vs. Workers Comp Forms

« on: May 02, 2010, 10:34 am »

In reality, state by state workman's comp forms are specific for that state.  Reporting to the union has nothing to do with workman's comp, that insurance process - but rather just a report of the injury - for tracking purposes - like any other violation of AEA rules.

OK, that's what I was thinking.  I feel like it would be helpful to have something in the SM packet giving a little more guidance about how to handle accident reporting.  Since the AEA form doesn’t go to the producer, they don’t know there is an injury unless you notify them separately, and I’m not sure actors, or deputies, understand this.  I think actors are reluctant to file workers comp claims for “I scraped my hand during the transition,” because they don’t want to put the producer out (though I think filing the initial report is pretty harmless as there’s no money spent unless they actually need treatment).  As an SM, it can be tough to be in the middle of this where I think they need the workers comp forms to really have a safety net if their injury worsens, but they only want to file with Equity. 

Yes, we can talk to company or production management about how they handle injuries, but it’s an awkward situation because the producer may have their own reasons to prefer that we don’t file. Having something to point to and say “Equity recommends filing workers comp for any injury where an accident report is filed” could clarify that this is in the actors’ best interest.

96

Stage Management: Plays & Musicals / Re: Injured actor

« on: Apr 28, 2010, 09:51 am »

Are there understudies for your cast?  Even if there are none now, is it possible for the producer to find someone to cover a few shows (are there other actors how have done this show and might be available), so you don’t need to cancel, and the actor can get some rest?  Also, maybe there is a way to cancel the first few shows, but tack some time onto the end of the tour to return to those venues, if the producer is concerned about loosing the money there.

It seems like a letter from the from the doctor to the producer  (by email or fax with the actors permission) laying out the specifics of what to expect and their recommendations for the actor’s recovery could inform your next step.  I tend to feel that since actors are grown-ups, and we SMs are not doctors, it is appropriate for each person to decide for themselves whether they are healthy enough to perform or not.  The big exception to that would be if, in rehearsal or a performance, they demonstrate that they physically can’t do it (drop lines, loose blocking, pass-out). 

Your ideas about holding a line-through, talking privately to the AD and actor, and exploring the idea of modifying the performance and schedule are all really good ones.  Let us know how it turns out. 

97

The Hardline / Re: Do Members Need Equity's Permission to do College Shows?

« on: Apr 26, 2010, 11:51 pm »

These are the two clauses from the U/RTA contract that the business rep in the Chicago office (don't remember off hand who it was at the time, this was a good number of years ago now) quoted to me as to why a waiver/permission was not needed for each production while in grad school.  The waiver I did need to get for our one production under the U/RTA contract was to cover the fact that there would officially be no Equity SM on contract for the production. 

This makes sense for equity members attending a school that is under the U/RTA contract.  But lots of schools aren't under any type of equity contract, so I would think all of those folks would need to check with AEA on whether any of this applies to their situation, or if they still need a waiver.

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The Hardline / Re: Do Members Need Equity's Permission to do College Shows?

« on: Apr 26, 2010, 06:24 pm »

I was not Equity in college, so I don’t have personal experience with this.  But here’s one of the things I read, from the AEA website (http://www.actorsequity.org/FAQ/QADetails.asp?cat=7&locator=77), that makes me believe that one does need permission:

“Once a member turns fourteen, he or she may only appear in school or community theatre with Equity's express written consent.”

I suspect it’s just a myth that doing a college show without permission is OK for Equity members, but would be interested to hear from anyone who has checked this out with Equity and been told they don't need to get the written consent.

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Stage Management: Plays & Musicals / Re: ASPIRATIONS: ASM for AEA vs. SM for NON-AEA

« on: Apr 22, 2010, 11:58 pm »

If you will be going back to school after whichever gig you choose, you should also look into how being Equity would effect your ability to participate in school shows.  I think you would need permission from equity to act or SM in college productions, because they would be non-equity. 

There isn’t a clear cut answer to which option is better, they are just different, and either one could be a good choice.  I tend to think that if you haven’t already decided Equity is a career goal for you, it may be better not to rush down that path just because you can.  Also, with your interest in lighting design, it might be beneficial to be able to work a wider variety of gigs as a non-eq so you can network with more lighting people and producers if you want to go down that rode. 

100

Stage Management: Plays & Musicals / Re: SCHEDULING: Do you include crew calls on your daily rehearsal calls?

« on: Apr 16, 2010, 01:43 pm »

I do include run crew calls on my daily rehearsal schedule during Tech & Previews.  Sometimes I let assistants or crew go home before the meeting is over, but even when I do give a call at the end of the day, it’s nice to have an email reminder as the days start to blur together.  I’ve attached an example.  I don't spell out what they need to be doing pre-show; they either know already or I'll talk it over with them.  My board ops know that if the designer needs them earlier than I have called them, they should come in for the earlier call, but usually it all comes up in the meetings.  I don’t include calls for overhire, or when staff electricians or carpenters are working onstage before/after rehearsal, though I would probably note that in the rehearsal report, where I give an abbreviated schedule (10am-noon carpenters onstage/noon-6pm tech, etc).

101

Stage Management: Plays & Musicals / Re: PROPS: Edible prop food

« on: Apr 12, 2010, 05:51 pm »

I’d browse a frozen foods sections.  I’ve done several shows that used mini-quiches (look similar to a tart) that we could just heat up before the show, but there are plenty of other appetizers and desserts that will look good and be easy to prepare.  If someone associated with the show has a Costco or Sams club card, you can stock up in bulk.  Something like that will look consistent, and not be labor intense when you have to make it every night.  I second loebtmc’s thought about having fake food on the trays as well to save time and trash.

102

The Hardline / AEA Accident Report Vs. Workers Comp Forms

« on: Apr 08, 2010, 11:08 am »

Is it appropriate to submit an AEA Accident Report preventatively?  As in a situation where an actor gets a minor injury and doesn’t want /need medical attention, but wants the incident to be “on file” with in case there are unforeseen complications from this down the road?  I seem to remember the workers comp forms being time sensitive, and if that’s the case, I don’t think just having the AEA form on file would help the actor get their treatment covered. 

103

Students and Novice Stage Managers / Re: AEA Membership Candidate Program

« on: Apr 08, 2010, 11:00 am »

I don’t think it’s frowned upon to get EMC points while a college student.  It’s just a matter of understanding how points can impact your opportunities in the future.   I was in the EMC program (after college) but got an Equity contract before I completed my weeks.  I don’t think EMC had any impact on how much I learned, or whether I was hired.  I think if you focus on getting professional experience that teaches you about theater and stage management, you’ll be in a good position to turn Equity when and if you want to, EMC or not.  I’ve known plenty of situations where a theater offered an Equity contract to someone without EMC or even much SM experience, so if that's part of your concern, know that an Equity Card isn’t always as hard to come by as you might think.

104

The Green Room / Re: can stage managers take a joke?

« on: Apr 01, 2010, 04:43 pm »

Most stage managers I know have great senses of humor.   I think we can take a joke, as long as it’s funny.  I'd agree that sometimes we assume the worst, but that's because we have to be prepared to deal with it.  Someone calling in sick, declaring a prop/costume/wardrobe malfunction, that sort of thing, is not funny if the SM has to go through the trouble of solving the problem before finding out it isn’t really an issue.  Professionals should know the difference between making a joke and being a jerk. 

105

Stage Management: Plays & Musicals / Re: ANNOUNCEMENT: Title formatting for this board

« on: Mar 23, 2010, 10:17 am »

If you are looking for something specific right now, you can also send me a PM and I’ll see if I can help.  If I remember a thread covering the topic you’re interested in, I may have better luck finding it.