91
Self-Promotion / Re: Flowers Stink!
« on: Oct 03, 2015, 03:48 am »
That's OK, SMMeade, all we've got at the Chicago BG is a big ol' flower that really does stink.
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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92
Stage Management: Plays & Musicals / Re: VENUES: Outdoor Theatre, revisited
« on: Sep 17, 2015, 10:35 pm »
Always be on the alert for critters. They don't have call times and don't observe theatre etiquette. (I had a startled skunk go off on me while footing a ladder once. Not fun.)
93
The Hardline / Re: Doing Non-Equity Work While Being Equity
« on: Sep 14, 2015, 01:37 pm »
^this. If you know of other areas where they normally need help, join in. Load in, put up posters, help with box office and ushering, share the show on social media.
94
The Hardline / Re: Doing Non-Equity Work While Being Equity
« on: Sep 13, 2015, 07:29 pm »
This thread should be seen by every young stage manager who is contemplating the transition to AEA. It's tough going from being one of the best non-union SMs to being a very small fish in an ocean of big league pros. I'm glad you decided as you have, and that you took my prior post as it was intended - tactlessness is a longstanding family tradition for me.
Enjoy your career and experiences. You've already made it further than I ever did. Cheers.
Enjoy your career and experiences. You've already made it further than I ever did. Cheers.
95
The Hardline / Re: Doing Non-Equity Work While Being Equity
« on: Sep 11, 2015, 03:38 pm »
Here are some previous discussions of this matter:
http://smnetwork.org/forum/the-hardline/do-members-need-equity's-permission-to-do-college-shows/
http://smnetwork.org/forum/the-hardline/being-offered-my-card-good-idea/
http://smnetwork.org/forum/the-hardline/when-to-join-equity/
...and my own take on the matter, written way back in 2001...
http://smnetwork.org/forum/articles-from-the-old-site/candidate-for-life-%28or-why-i-haven't-joined-aea%29/
To answer the cliffhanger from the end of the last article, no, I never joined and my rep never had the chance to snicker at me.
AEA SMs do take non-union work from time to time. I've seen members do so for educational situations or high profile international work. If you're going to be doing something that will greatly improve your skills or visibility as a union stage manager then it may be worthwhile. However, if you're only doing it because you can't find any other work, then IMHO getting your card was a mistake. You now need to make the best of a bad decision on your own in a way that does not harm the labor union that you joined.
I never joined because I was not willing to make the sacrifices required to go pro. If you join a labor union and then immediately seek to violate one of the primary principles of union labor (i.e., union talent only works for union shops) then you have misunderstood the entire concept of organized labor. If your community has no openings for AEA SMs then you should have known or researched that fact before joining and done the math. The union is only able to offer you all the nice perks of guaranteed wages, insurance, safety assurances, etc because your talent and the talent of everyone in the union is their collateral in collective bargaining. You are now a bargaining chip. You certainly can walk away from that role. However, if you've any experience with unruly casts I'm sure you'll understand how difficult it is to field a successful team when the players keep deviating from the playbook.
If a producer can have your proven union-caliber professional talent at cut rates and without all the hassle, paperwork and liability of being an AEA shop, then what incentive do they have to switch over to equity contracts at all? How can AEA grow as a presence in the theatre industry if its members are deliberately undermining its power to negotiate? You may think, "oh, I'm just one person, my presence or absence won't matter," but the whole point of joining the union is to say that you will make the sacrifice of limiting your work opportunities in favor of the group succeeding as a whole. Every single person who has joined AEA has faced your dilemma. The union only survives because they have, for the most part, continued to make that sacrifice.
Also, think back to when you were non-union. How would you have felt if AEA premium talent was coming in to snap up all of your gigs? It would be kind of like what happened to the Olympic Games back in the 90's when they decided to allow professional athletes to compete. Non-union doesn't need big city fancy schmancy AEA stage managers coming in to tell them how it's done in the big leagues. Part of the charm of non-union is the unconventional spontaneity that arises from not knowing all the ropes.
You made a very adult decision in joining the union. Even if that choice was not made with open eyes, it would be best to continue with the adult decisions going forward.
http://smnetwork.org/forum/the-hardline/do-members-need-equity's-permission-to-do-college-shows/
http://smnetwork.org/forum/the-hardline/being-offered-my-card-good-idea/
http://smnetwork.org/forum/the-hardline/when-to-join-equity/
...and my own take on the matter, written way back in 2001...
http://smnetwork.org/forum/articles-from-the-old-site/candidate-for-life-%28or-why-i-haven't-joined-aea%29/
To answer the cliffhanger from the end of the last article, no, I never joined and my rep never had the chance to snicker at me.
AEA SMs do take non-union work from time to time. I've seen members do so for educational situations or high profile international work. If you're going to be doing something that will greatly improve your skills or visibility as a union stage manager then it may be worthwhile. However, if you're only doing it because you can't find any other work, then IMHO getting your card was a mistake. You now need to make the best of a bad decision on your own in a way that does not harm the labor union that you joined.
I never joined because I was not willing to make the sacrifices required to go pro. If you join a labor union and then immediately seek to violate one of the primary principles of union labor (i.e., union talent only works for union shops) then you have misunderstood the entire concept of organized labor. If your community has no openings for AEA SMs then you should have known or researched that fact before joining and done the math. The union is only able to offer you all the nice perks of guaranteed wages, insurance, safety assurances, etc because your talent and the talent of everyone in the union is their collateral in collective bargaining. You are now a bargaining chip. You certainly can walk away from that role. However, if you've any experience with unruly casts I'm sure you'll understand how difficult it is to field a successful team when the players keep deviating from the playbook.
If a producer can have your proven union-caliber professional talent at cut rates and without all the hassle, paperwork and liability of being an AEA shop, then what incentive do they have to switch over to equity contracts at all? How can AEA grow as a presence in the theatre industry if its members are deliberately undermining its power to negotiate? You may think, "oh, I'm just one person, my presence or absence won't matter," but the whole point of joining the union is to say that you will make the sacrifice of limiting your work opportunities in favor of the group succeeding as a whole. Every single person who has joined AEA has faced your dilemma. The union only survives because they have, for the most part, continued to make that sacrifice.
Also, think back to when you were non-union. How would you have felt if AEA premium talent was coming in to snap up all of your gigs? It would be kind of like what happened to the Olympic Games back in the 90's when they decided to allow professional athletes to compete. Non-union doesn't need big city fancy schmancy AEA stage managers coming in to tell them how it's done in the big leagues. Part of the charm of non-union is the unconventional spontaneity that arises from not knowing all the ropes.
You made a very adult decision in joining the union. Even if that choice was not made with open eyes, it would be best to continue with the adult decisions going forward.
96
The Green Room / Re: Odd legal stuff you've learned
« on: Sep 08, 2015, 04:16 pm »
Maggie, this was one of the reasons why I created the Internship survey. I wanted to track which internships were actually educational. It's still going, you can access it from the top right navigation in the desktop version of SMNetwork.
97
Stage Management: Plays & Musicals / Re: Hairspray spray.
« on: Sep 05, 2015, 12:33 am »
The same company apparently makes fake hairspray for just this purpose. See http://amzn.com/B00GHXGFAI
(Sidenote: the "also purchased with this item" items crack me up.)
(Sidenote: the "also purchased with this item" items crack me up.)
98
Homework Help / Re: Need Working Division form for SM Class
« on: Sep 04, 2015, 12:28 am »
I'm not sure what you mean by a "working division". I'm guessing that it's a UK/Australian term for either an actor/scene breakdown or a who/what/where (WWW). If so, there are templates for both types of forms in the Uploaded Forms section of the site, although none are specific to Pride & Prejudice. Additionally, there are several different script adaptations of P&P. If you're looking for an actual breakdown of that particular script it would help to know which version you've been given.
If the instructor is looking for you to break the script into French scenes and list characters needed for rehearsing each scene, then an actor/scene breakdown is what you'll want. If they want a full analysis of every technical aspect as well as French scenes, then the WWW would be the better option.
If the instructor is looking for you to break the script into French scenes and list characters needed for rehearsing each scene, then an actor/scene breakdown is what you'll want. If they want a full analysis of every technical aspect as well as French scenes, then the WWW would be the better option.
99
The Green Room / Re: SMNetwork Member Spotlight Interviews (now with text transcription!)
« on: Aug 28, 2015, 03:15 pm »
Are you suggesting that Maribeth is bachelorette #1?
100
The Green Room / Re: SMNetwork Member Spotlight Interviews
« on: Aug 27, 2015, 06:06 pm »
FYI, this will be a series. Matthew already has a full slate of interviewees culled from the top contributors to the SMNetwork community. If you want to be interviewed, post more. 
Maribeth's SMNetwork profile: [link]
Plain text transcript of the PDF for folks on mobile & indexing in the site search:
Hello! My name is Matthew Shiner, and I have been a SM Network member for over 12 years (and something like 2400 posts). I am currently on tour, and I thought it would be interesting to interview some of SMNetwork members. One, I thought it would be good to get to know a bit about these individuals I have gotten to know over the years online. Two, I thought it would be good to give a little spotlight to stage managers, sharing a bit of information.
I do have to say with my first stage manager, I am cheating a little bit. Not only do I know her in real life, I have actually worked along side her. I brought Maribeth onto a show I did when I was the Resident Production Stage Manager at Shakespeare Theatre Company in Washington DC, on a huge production of As You Like It – directed by Maria Aitken – with something like 140 quick changes, massive amounts of projections, and new score. In the piece, we changed period constantly, going from black and white films to a big Hollywood number at the end. My assistant and I both knew we were going to bring someone one to help put the show up. I remember being very impressed with Maribeth’s resume when she came in, but more taken by her work style and attitude – she instantly got the style and rhythm of what my assistant and I had found. She was a great addition to that team.
So, given I know her personally, and she is a very active member of the SMNetwork I thought she would make a great first interviewee – so, I reached out to her via email, and here are her responses.
Biographical Information
Real Name: Maribeth Chaprnka
Professional Name: same (not a lot of Chaprnkas out there- if you know one, they are almost certainly related to me).
Marriage Status: Unmarried, in a long-term relationship
Children: None yet, but one cat- Henry Percy
Where do you live now / homebase?: Just outside of Washington DC
How do you feel about DC as a place to be based out of?
I think the DC area is a great place to live and work. There's a vibrant theatre community here, and it's possible to make a decent living. I recommend to young SMs interested in the area to do an internship or apprenticeship here. It's a great way to make connections, as well as build a relationship with the theatre where you intern. I feel like I lucked out a bit- I hadn't chosen a major when I started college, but quickly found that my theatre program had so many connections to the community here. The faculty and staff work professionally in DC (as well as teach) so I found myself with a lot of great working relationships coming out of school. DC is also close enough to a number of other cities (Baltimore, Pittsburgh, Philly) with their own theatre scenes, and it's just a train or bus ride to NY. I do occasionally travel or do out of town shows, but for the most part, I am pretty rooted here.
Downsides to the area include 1) a high cost of living and if you don't drive, you're limited to theatres accessible by public transportation. 2) There are a number of theatres doing good work that can be great for building up your resume, but don't pay enough to offset the cost of living around here- many people have day jobs. 3) It can be hard to break into some of the larger theatres - knowing someone who works there can be a huge "in". Working there first as an intern or a PA can help you down the line.
If anyone is interested in the area I'm always happy to talk to them about it.
Where did you grow up? North of Baltimore, MD
Where did you go to college? (Undergrad / Grad) University of Maryland, College Park (http://www.umd.edu/) just outside of DC.
Did you do a professional internship, if so where? Yes- I was a stage management apprentice at Round House Theatre, a LORT theatre in DC, for the season after I graduated college. It was basically a non-AEA ASM gig, with a few other responsibilities. Doing an apprenticeship was a great way to get the experience I needed at that age, while making connections in my area. I learned so much from the PSM, and she's become a valuable friend and colleague.
What are you currently working on?
This season is all about children's theatre for me! I'm about to start prep for "Flowers Stink," a collaboration between the Kennedy Center and the U.S. Botanic Garden. It's a new musical that will perform at the Garden in a small outdoor amphitheatre. Right after that, I go into rehearsals for the remount of "Elephant and Piggie's We Are In a Play!" - I SMed the original production 2 years ago. The remount will be at the Kennedy Center Thanksgiving through New Years, and then I'm going on tour with the show January-March. Very excited to get my feet wet with the whole touring experience!
Flowers Stink: http://www.kennedy-center.org/calendar/event/ZPTTC
Elephant and Piggie's We Are In a Play!: http://www.kennedy-center.org/calendar/event/KQTBC
10 (OR SO) QUESTIONS
1. Why Theater? Why Stage Management? You are at a cocktail party, and someone asks what you do for a living – how do you answer that question?
I've always loved theatre, but didn't intend on pursuing it as a career until college. I found that I loved how involved stage management is with all aspects of the production, and with all of the different collaborators- you get to work with everyone, and at the end of the day you're the one who's holding all of the different elements together. When I describe my job to people, I tell them that the stage manager helps run rehearsals and facilitate communication between all of the different members of the production, and during performances they maintain the production that we rehearsed and teched. And of course, call the cues, because everyone seems to understand that part of it.
2. What was your favorite production and why?
Right after my apprenticeship, I was an ASM on a production of A Prayer for Owen Meany at Round House- it was a big, epic production, with a large cast and crew, and many large scenic elements to manage. The cast and crew were great and I made friends on that show that I feel fortunate to work with now and again. We did potluck dinners on two-show Sundays and really enjoyed each other's company.
There were moments in the show that made me catch my breath night after night- every performance, I ran from the basement to SR to watch
(perfectly timed to the music) a giant black silk drop to reveal the back wall of the theatre painted with the American flag, as Owen rode a forklift carrying on a plain pine coffin onstage. It was one of my favorite theatrical moments, ever. I had a lot of responsibility on that show, with a lot of technical elements to coordinate, including flying actors. Overall an incredibly rewarding experience, and a lot of the things that I learned on that show have really stuck with me, including how to manage a large crew of mostly young people, and how to handle larger technical elements safely.
3. What’s your favorite part of the process and why?
Tech! I love putting the pieces together and seeing the fully-realized production emerge. It's really satisfying to see the prep work that you did pay off- something you noted in rehearsal come together, or a problem you saw ahead of time be avoided. In a weird way, I also really love prep week- it's the time when I learn the show and prepare myself for what's ahead.
4. What do you look for in an assistant? And, what do you look for in a supervisor?
In an assistant, I want to find someone who can be a collaborator and a contributing member of the team. Their job is not just an extension of mine- it has its own responsibilities, and I like working with someone I trust enough to really delegate tasks to. My favorite ASMs have been proactive- they solved problems on their own, but kept me in the loop, and took the initiative to take care of problems before/as they come up. A positive attitude and a good sense of humor is important to me as well- I'm going to spend a lot of time with this person, so I don't want someone who's going to be constantly complaining and/or miserable.
I like to work for people who trust me, who value my opinion and see me as a colleague and collaborator. I have no interest in working somewhere that doesn't see me as a team member. My favorite supervisors are ones who I feel I can bring problems to, knowing that we'll handle the issue and that I'll have their support with the solution.
5. What frustrates you about this job or this career? What are some the biggest challenges we are facing in the job or this career?
The uncertainty- I've spent most of my career freelancing, and always looking for the next production. I've had to scramble for work when shows have gotten canceled, and look for filler work when shows don't line up well.
I'm not great at networking- I hate schmoozing, and I don't really like being on social media. I'm sure there are opportunities I've missed because of this. I think people who excel at networking use these tools to get the next, better gig, and I find it frustrating since I'm not really interested in that.
As I've gotten older, my priorities have shifted a bit. When I first started, I really didn't care about making money- I just wanted to be able to support myself, and do what I loved, and I sacrificed a lot of time with family and friends to make that happen. I have other priorities now- a home, a partner, family events, etc- and I think one of the biggest challenges in this profession is making enough money to support yourself, enough health weeks to keep you insured, all while having enough time for yourself and your other life priorities to make you happy.
6. What do you to keep life and work balance?
It took me a long time to get to a place where I feel like I have a work/life balance. I used to work, work, work, as much and as often as I could. I spent a lot of time with other theatre people, and seeing other shows - theatre was my whole life. Now I have a lot of other hobbies, and frankly, I don't see much theatre outside of work. I miss it but it helps immensely. I
also try to keep work at work- I don't stay up late doing paperwork or replying to emails. I'd rather come in early the next day, and have some time for myself at home.
The biggest thing is that I don't take as many jobs as I used to. I'd rather have a few weeks off here and there- and I was surprised to find how many “filler” jobs have come up to make that more manageable (workshops, sub/takeover gigs, etc). I don't feel as busy as I used to- and if I am working on multiple shows at the same time, it's because I choose to.
7. How do you find work?
I start to look for my next season's shows in January-March, when theatres in my area are starting to announce their seasons. My first step is to get in touch with theatres I know I enjoy working at and see if they have anything for me. At this point I have a couple of theatres where I am a “regular”, and can usually fill at least 60-80% of my season that way.
I also keep tabs on job postings- there are a number of websites that I keep track of, and an email listserv for the DC area, and I'll apply when I see something I'm interested in. It's also a good way to keep track of the local market- who's hiring, what kind of jobs are out there, etc. I used to do (and occasionally still do) a big resume mailing in Jan/Feb- it's not my favorite way to look for jobs but it never hurts.
The best way that I get jobs is through other people! Putting it out there that I am looking for something for a particular time slot, or interested in working at a particular theatre has opened up opportunities for me. Once, I mentioned to a fellow ASM that I was interested in working at a theatre that I saw in his program bio. He forwarded my resume to them, and 3 years later, they called me about a job opening- I've spent the last 4 summers there.
8. What is the one piece of advice you would give your younger self?
Gah, only one! Own up to your mistakes- embrace them, learn from them. My natural inclination is to be defensive about why I made the mistake - when the better option is to embrace the lesson learned and to endeavor not to make the same mistake again. I'm constantly learning from other people, and I would remind myself to stay open to that idea, and really learn from your mistakes.
9. If you were to stop stage-managing tomorrow – what would you do?
I've always thought about going into business for myself- when I was a teenager I thought I would own/run a bookstore, but these days I could really see myself opening a nursery/garden center. Gardening is my number one passion these days and I fully believe in doing what you love and finding a way to make a career out of it. (It's why I got into theatre).
10. What’s your favorite drink (Alcohol or otherwise)?
A French 75- gin, lemon juice, champagne, and simple syrup. Love it and make it whenever I can find an excuse.
Thanks Maribeth!!!
Maribeth’s current resume can be seen on the last page of the PDF. For more interviews and information about stage managers, visit SMNetwork.org.
M. (Matthew) William Shiner is a freelance stage manager, currently on the road with a big old musical. Born in California, working all over the world, currently keeping his couch and dogs in New York City. For more information on Matthew, check out www.stagemanager.nyc !!!
Maribeth's SMNetwork profile: [link]
Plain text transcript of the PDF for folks on mobile & indexing in the site search:
Hello! My name is Matthew Shiner, and I have been a SM Network member for over 12 years (and something like 2400 posts). I am currently on tour, and I thought it would be interesting to interview some of SMNetwork members. One, I thought it would be good to get to know a bit about these individuals I have gotten to know over the years online. Two, I thought it would be good to give a little spotlight to stage managers, sharing a bit of information.
I do have to say with my first stage manager, I am cheating a little bit. Not only do I know her in real life, I have actually worked along side her. I brought Maribeth onto a show I did when I was the Resident Production Stage Manager at Shakespeare Theatre Company in Washington DC, on a huge production of As You Like It – directed by Maria Aitken – with something like 140 quick changes, massive amounts of projections, and new score. In the piece, we changed period constantly, going from black and white films to a big Hollywood number at the end. My assistant and I both knew we were going to bring someone one to help put the show up. I remember being very impressed with Maribeth’s resume when she came in, but more taken by her work style and attitude – she instantly got the style and rhythm of what my assistant and I had found. She was a great addition to that team.
So, given I know her personally, and she is a very active member of the SMNetwork I thought she would make a great first interviewee – so, I reached out to her via email, and here are her responses.
Biographical Information
Real Name: Maribeth Chaprnka
Professional Name: same (not a lot of Chaprnkas out there- if you know one, they are almost certainly related to me).
Marriage Status: Unmarried, in a long-term relationship
Children: None yet, but one cat- Henry Percy
Where do you live now / homebase?: Just outside of Washington DC
How do you feel about DC as a place to be based out of?
I think the DC area is a great place to live and work. There's a vibrant theatre community here, and it's possible to make a decent living. I recommend to young SMs interested in the area to do an internship or apprenticeship here. It's a great way to make connections, as well as build a relationship with the theatre where you intern. I feel like I lucked out a bit- I hadn't chosen a major when I started college, but quickly found that my theatre program had so many connections to the community here. The faculty and staff work professionally in DC (as well as teach) so I found myself with a lot of great working relationships coming out of school. DC is also close enough to a number of other cities (Baltimore, Pittsburgh, Philly) with their own theatre scenes, and it's just a train or bus ride to NY. I do occasionally travel or do out of town shows, but for the most part, I am pretty rooted here.
Downsides to the area include 1) a high cost of living and if you don't drive, you're limited to theatres accessible by public transportation. 2) There are a number of theatres doing good work that can be great for building up your resume, but don't pay enough to offset the cost of living around here- many people have day jobs. 3) It can be hard to break into some of the larger theatres - knowing someone who works there can be a huge "in". Working there first as an intern or a PA can help you down the line.
If anyone is interested in the area I'm always happy to talk to them about it.
Where did you grow up? North of Baltimore, MD
Where did you go to college? (Undergrad / Grad) University of Maryland, College Park (http://www.umd.edu/) just outside of DC.
Did you do a professional internship, if so where? Yes- I was a stage management apprentice at Round House Theatre, a LORT theatre in DC, for the season after I graduated college. It was basically a non-AEA ASM gig, with a few other responsibilities. Doing an apprenticeship was a great way to get the experience I needed at that age, while making connections in my area. I learned so much from the PSM, and she's become a valuable friend and colleague.
What are you currently working on?
This season is all about children's theatre for me! I'm about to start prep for "Flowers Stink," a collaboration between the Kennedy Center and the U.S. Botanic Garden. It's a new musical that will perform at the Garden in a small outdoor amphitheatre. Right after that, I go into rehearsals for the remount of "Elephant and Piggie's We Are In a Play!" - I SMed the original production 2 years ago. The remount will be at the Kennedy Center Thanksgiving through New Years, and then I'm going on tour with the show January-March. Very excited to get my feet wet with the whole touring experience!
Flowers Stink: http://www.kennedy-center.org/calendar/event/ZPTTC
Elephant and Piggie's We Are In a Play!: http://www.kennedy-center.org/calendar/event/KQTBC
10 (OR SO) QUESTIONS
1. Why Theater? Why Stage Management? You are at a cocktail party, and someone asks what you do for a living – how do you answer that question?
I've always loved theatre, but didn't intend on pursuing it as a career until college. I found that I loved how involved stage management is with all aspects of the production, and with all of the different collaborators- you get to work with everyone, and at the end of the day you're the one who's holding all of the different elements together. When I describe my job to people, I tell them that the stage manager helps run rehearsals and facilitate communication between all of the different members of the production, and during performances they maintain the production that we rehearsed and teched. And of course, call the cues, because everyone seems to understand that part of it.
2. What was your favorite production and why?
Right after my apprenticeship, I was an ASM on a production of A Prayer for Owen Meany at Round House- it was a big, epic production, with a large cast and crew, and many large scenic elements to manage. The cast and crew were great and I made friends on that show that I feel fortunate to work with now and again. We did potluck dinners on two-show Sundays and really enjoyed each other's company.
There were moments in the show that made me catch my breath night after night- every performance, I ran from the basement to SR to watch
(perfectly timed to the music) a giant black silk drop to reveal the back wall of the theatre painted with the American flag, as Owen rode a forklift carrying on a plain pine coffin onstage. It was one of my favorite theatrical moments, ever. I had a lot of responsibility on that show, with a lot of technical elements to coordinate, including flying actors. Overall an incredibly rewarding experience, and a lot of the things that I learned on that show have really stuck with me, including how to manage a large crew of mostly young people, and how to handle larger technical elements safely.
3. What’s your favorite part of the process and why?
Tech! I love putting the pieces together and seeing the fully-realized production emerge. It's really satisfying to see the prep work that you did pay off- something you noted in rehearsal come together, or a problem you saw ahead of time be avoided. In a weird way, I also really love prep week- it's the time when I learn the show and prepare myself for what's ahead.
4. What do you look for in an assistant? And, what do you look for in a supervisor?
In an assistant, I want to find someone who can be a collaborator and a contributing member of the team. Their job is not just an extension of mine- it has its own responsibilities, and I like working with someone I trust enough to really delegate tasks to. My favorite ASMs have been proactive- they solved problems on their own, but kept me in the loop, and took the initiative to take care of problems before/as they come up. A positive attitude and a good sense of humor is important to me as well- I'm going to spend a lot of time with this person, so I don't want someone who's going to be constantly complaining and/or miserable.
I like to work for people who trust me, who value my opinion and see me as a colleague and collaborator. I have no interest in working somewhere that doesn't see me as a team member. My favorite supervisors are ones who I feel I can bring problems to, knowing that we'll handle the issue and that I'll have their support with the solution.
5. What frustrates you about this job or this career? What are some the biggest challenges we are facing in the job or this career?
The uncertainty- I've spent most of my career freelancing, and always looking for the next production. I've had to scramble for work when shows have gotten canceled, and look for filler work when shows don't line up well.
I'm not great at networking- I hate schmoozing, and I don't really like being on social media. I'm sure there are opportunities I've missed because of this. I think people who excel at networking use these tools to get the next, better gig, and I find it frustrating since I'm not really interested in that.
As I've gotten older, my priorities have shifted a bit. When I first started, I really didn't care about making money- I just wanted to be able to support myself, and do what I loved, and I sacrificed a lot of time with family and friends to make that happen. I have other priorities now- a home, a partner, family events, etc- and I think one of the biggest challenges in this profession is making enough money to support yourself, enough health weeks to keep you insured, all while having enough time for yourself and your other life priorities to make you happy.
6. What do you to keep life and work balance?
It took me a long time to get to a place where I feel like I have a work/life balance. I used to work, work, work, as much and as often as I could. I spent a lot of time with other theatre people, and seeing other shows - theatre was my whole life. Now I have a lot of other hobbies, and frankly, I don't see much theatre outside of work. I miss it but it helps immensely. I
also try to keep work at work- I don't stay up late doing paperwork or replying to emails. I'd rather come in early the next day, and have some time for myself at home.
The biggest thing is that I don't take as many jobs as I used to. I'd rather have a few weeks off here and there- and I was surprised to find how many “filler” jobs have come up to make that more manageable (workshops, sub/takeover gigs, etc). I don't feel as busy as I used to- and if I am working on multiple shows at the same time, it's because I choose to.
7. How do you find work?
I start to look for my next season's shows in January-March, when theatres in my area are starting to announce their seasons. My first step is to get in touch with theatres I know I enjoy working at and see if they have anything for me. At this point I have a couple of theatres where I am a “regular”, and can usually fill at least 60-80% of my season that way.
I also keep tabs on job postings- there are a number of websites that I keep track of, and an email listserv for the DC area, and I'll apply when I see something I'm interested in. It's also a good way to keep track of the local market- who's hiring, what kind of jobs are out there, etc. I used to do (and occasionally still do) a big resume mailing in Jan/Feb- it's not my favorite way to look for jobs but it never hurts.
The best way that I get jobs is through other people! Putting it out there that I am looking for something for a particular time slot, or interested in working at a particular theatre has opened up opportunities for me. Once, I mentioned to a fellow ASM that I was interested in working at a theatre that I saw in his program bio. He forwarded my resume to them, and 3 years later, they called me about a job opening- I've spent the last 4 summers there.
8. What is the one piece of advice you would give your younger self?
Gah, only one! Own up to your mistakes- embrace them, learn from them. My natural inclination is to be defensive about why I made the mistake - when the better option is to embrace the lesson learned and to endeavor not to make the same mistake again. I'm constantly learning from other people, and I would remind myself to stay open to that idea, and really learn from your mistakes.
9. If you were to stop stage-managing tomorrow – what would you do?
I've always thought about going into business for myself- when I was a teenager I thought I would own/run a bookstore, but these days I could really see myself opening a nursery/garden center. Gardening is my number one passion these days and I fully believe in doing what you love and finding a way to make a career out of it. (It's why I got into theatre).
10. What’s your favorite drink (Alcohol or otherwise)?
A French 75- gin, lemon juice, champagne, and simple syrup. Love it and make it whenever I can find an excuse.
Thanks Maribeth!!!
Maribeth’s current resume can be seen on the last page of the PDF. For more interviews and information about stage managers, visit SMNetwork.org.
M. (Matthew) William Shiner is a freelance stage manager, currently on the road with a big old musical. Born in California, working all over the world, currently keeping his couch and dogs in New York City. For more information on Matthew, check out www.stagemanager.nyc !!!
101
Stage Management: Other / Re: Blocking notation for a mobile rehearsal
« on: Aug 25, 2015, 03:13 pm »
Maybe one of those contractors' clipboards with the added compartment for papers might be of use here. Tape one of those silica gel packets that come with new shoes to the inside to help absorb the humidity.
102
Stage Management: Plays & Musicals / Re: PROMPT SCRIPT: Assistant Stage Manager Paperwork
« on: Aug 24, 2015, 05:19 am »
I never took blocking as ASM. I was never even allowed to sit at the tech table. I was deck crew in rehearsal, plus prompting once off book. One SM didn't give me a script for the first few weeks with the rationale that the crew reading my run sheets wouldn't have scripts either.
103
Students and Novice Stage Managers / Re: Is it a norm?
« on: Aug 24, 2015, 05:12 am »
There are no norms. Aside from union rules in union houses (which as we've seen can be open to multiple interpretations) and basic human courtesy there should be no norms. The most crippling thing you can say in an artistic environment is "but this is how we've always done things."
104
Stage Management: Plays & Musicals / Re: SM & Designer's Relationship
« on: Aug 20, 2015, 02:56 pm »
If there are major issues that electrics will be handling that will effect staging, discuss plans for implementation. If there are light switches, how will they operate? If an actor must turn on a lamp, will they actually be twisting a switch? Will it be on the lamp base or on the cord? This will help you pull rehearsal props that more closely approximate the real actions.
If there's rain, will it be over the whole stage or in a confined area? Will there be drainage troughs that could cause trip hazards backstage? How much time should you set aside in tech for rain rehearsal? What scenes will it be raining in? Does costumes know which pieces will get wet?
If there's a snow cradle, where will it be located and how will it be controlled?
If repatching is required, when in the show will the repatches occur? (This so that you can ensure that the dimmers are accessible and you have someone to do the actual cable swapping.)
For sound, ask if the designer can provide a sample of sound cues to use in the rehearsal room, especially for sounds that actors will need to cue off of, like phones ringing, gunshots, etc. If sound effects will be coming from a specific direction, find out where they think the speakers will be placed so you can inform the actors. Bear in mind that they may not know the exact locations before rehearsal starts.
I don't think individual meetings about script changes are necessary if you can sit in on the production meetings. A quick intro phone call is good. If your discussions about the director's vision have made it clear that you're diverging heavily from the script it would be good to make sure that the design team is aware, but anything beyond that would fall under the purview of the PM, TD and the director.
With both, it is also great to find out how they like to get data. Do they want just their notes or the whole enchilada? Do they want emails or Facebook messages?
Asking for cue sheets or plots before first rehearsal would definitely be overstepping. What you need to know early on is how to sideload their parts of the production design into the rehearsal room in order to smooth your road into tech, and in return how to bring the outcome of those rehearsals back outwards to inform the evolving design.
If there's rain, will it be over the whole stage or in a confined area? Will there be drainage troughs that could cause trip hazards backstage? How much time should you set aside in tech for rain rehearsal? What scenes will it be raining in? Does costumes know which pieces will get wet?
If there's a snow cradle, where will it be located and how will it be controlled?
If repatching is required, when in the show will the repatches occur? (This so that you can ensure that the dimmers are accessible and you have someone to do the actual cable swapping.)
For sound, ask if the designer can provide a sample of sound cues to use in the rehearsal room, especially for sounds that actors will need to cue off of, like phones ringing, gunshots, etc. If sound effects will be coming from a specific direction, find out where they think the speakers will be placed so you can inform the actors. Bear in mind that they may not know the exact locations before rehearsal starts.
I don't think individual meetings about script changes are necessary if you can sit in on the production meetings. A quick intro phone call is good. If your discussions about the director's vision have made it clear that you're diverging heavily from the script it would be good to make sure that the design team is aware, but anything beyond that would fall under the purview of the PM, TD and the director.
With both, it is also great to find out how they like to get data. Do they want just their notes or the whole enchilada? Do they want emails or Facebook messages?
Asking for cue sheets or plots before first rehearsal would definitely be overstepping. What you need to know early on is how to sideload their parts of the production design into the rehearsal room in order to smooth your road into tech, and in return how to bring the outcome of those rehearsals back outwards to inform the evolving design.
105
Stage Management: Plays & Musicals / Re: Sondheim on Sondheim
« on: Aug 20, 2015, 11:33 am »
SMEustace, your suggestions would be great on the Students & Novices board, and I'm sure you did not mean to offend. However, I think after 30 years of equity stage management, loebtmc knows what she needs for her book style.
Loebtmc, from the looks of the profile, yes, there is video that's integral to the performance. There is no book, all spoken parts are video of interviews with Sondheim, interspersed with live musical numbers. The original production used 64 different projection screens. A local company around here did a production of it that was much simpler. (I think I've found a valid email address for her, I'll PM it over to you.)
There appears to be a piano/vocal version in the materials offered by MTI. From the looks of the song selection most of them are solos or duets that would suffice with libretto only, but there's a large group medley from Into the woods/Little night music/Sunday at the end of Act I that might require the manuscript.
Loebtmc, from the looks of the profile, yes, there is video that's integral to the performance. There is no book, all spoken parts are video of interviews with Sondheim, interspersed with live musical numbers. The original production used 64 different projection screens. A local company around here did a production of it that was much simpler. (I think I've found a valid email address for her, I'll PM it over to you.)
There appears to be a piano/vocal version in the materials offered by MTI. From the looks of the song selection most of them are solos or duets that would suffice with libretto only, but there's a large group medley from Into the woods/Little night music/Sunday at the end of Act I that might require the manuscript.