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Messages - BayAreaSM

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91
The entire San Jose area has been abuzz today with the news. Guess that buzz hit a reporter's ear earlier this evening.

http://www.mercurynews.com/entertainment/ci_25938149/reports-fly-that-san-jose-rep-is-trouble

From my insider sources, SJ Rep won't be bailed out this time. It's a sad time in San Jose.

92
Is it possible for whomever is doing the hiring of these directors at your theater, to let them know who you are and what function you will be performing? There must be a simple way for it to be mentioned via email or on the phone during the Director's contract process.

"Dear Director, so that you are aware, here at Theater Company X, we provide you with a skilled Stage Manager for your rehearsals and performances. This stage manager will act similarly to an assistant director and will call your shows. I've attached a PDF that explains the SM's functions during rehearsal and how they will assist you in your production. Their name is X and they would like to email you a few questions in advance. Please be on the lookout for an email from xx @ xx .com"

If you can create a quick one-page run down, simplifying your functions with the focus on how all that you do is to help the director and the production (which it obviously is, but make it super clear that it is), I don't see why this information cannot be passed on during the hiring process. Any time I rent a theater, I am told what staff is required to be there, what functions they do, etc. This doesn't sound like an outrageous request to make of the Company.


93
The Green Room / Re: AUDIENCES: E-Cigarettes
« on: May 21, 2014, 01:56 am »
I recently had several instances of e-cigs/vaping at my ballet company. While an individual company can create their own policies, local bans are still in process. I was asked to help write up a company policy regarding e-cigs, after I walked into the break room of our studios and noticed a huge cloud of "smoke." I had to do a fair amount of searching to try to find any "back-up" material for our decision.

The main issue with the vaporizers is that they are flavored (strawberry, bubble gum, etc), brightly colored and indirectly marketed to children. A study was done in the SF Bay and it was found that 60% of vaporizer users in middle school had never smoked an actual cigarette. (And the total count of middle school users was 160k in SF.) And yes, they can contain capsules with hash oil in them, which is why so many parents are up-in-arms about them. Our ballet building also houses our school of over 350 students, so that our was company's reasoning for banning vaping in the building. We don't need for it to look cool to young impressionable minds, just because the professional dancers are doing it inside.

Shortly after our ban, we had a stager come in from Europe. I was shocked when I walked into the studio on a break and she was using her vaporizer. HR spoke with her about the ban for the company, and requested that she please vape outside. She did accommodate, at least when she was being watched.

There haven't been enough tests done on the long-term effects of these vaporizers, and while someone may have chosen to inhale that into their body, I don't want to have it in my body. I will say that the smoke/vapor from them does hang in the air, and you can walk through it and inhale it.

On Matthew's comment - I recently called Twyla Tharp's In the Upper Room - which is a 39 minute ballet performed in a giant block of haze. The entire stage is filled, and of course, the backstage, and when the curtain goes out - most of the audience. No, I was not a fan of sitting backstage inhaling all of this haze for more than 1 hour, but I was actually more upset when an Artistic Staff member came up to me between cues and blew his scented vaporizer smoke in my face. He said he was "helping with the atmosphere." He was doing it to be funny, but it upset me - as here was a leader of my company vaporizing inside the theater. Not the best role model.

I will say, it should come down to common courtesy. Granted, food isn't illegal, but many theatres post notices that say you can't bring food or drink into the theater. We also say that photos and videos are not permitted. We also ask people to silence their cellphones. If a theater says "no smoking" that should also include "no vaping, no e-cigs." For those blue tips that light up, it can be distracting to audience members as well as performers. And anyone who sees a cloud of smoke puff up - there are psychosomatic reactions (like coughing), or someone could yell "fire!" - because people don't know what it is.

It really should be a matter of common sense, but I feel that anyone who is smoking anything while inside a theater should be asked to stop.



94
Job Postings / Re: AEA-Assistant Stage Manager Needed
« on: May 21, 2014, 01:23 am »
Here is the theater company's site for the show: http://www.stonc.org/events/hairspray

95
Ballet San Jose is looking for an additional Production Assistant to be part of the SM Team for the BSJ School Performances on June 1st.

 -$300 Stipend

 -Rehearsals at BSJ Studios in downtown San Jose (near light rail)
   5/24 9am-3:30pm
   5/29 4:30pm-8:30pm
   5/30 4:30pm-8pm

-Tech and Performances at the California Theatre in downtown San Jose
   5/31 8:45am-7:30pm  [Tech]
   6/01 10:30am-9pm [2 Performances & Load-Out]

2nd PA on the show assists the SM team [SM, ASM and 1st PA] with checking in & checking out students [up to 285 students], making sure students are lined up for entrances, running them up and down the stairs, and additional tasks as needed with the SM Team. Must pass a background check.

 Contact: Les Reinhardt at LReinhardt (at) balletsj.org

96
Well, our company ended up purchasing Wondershare - and I have to admit - it's pretty great. Once I purchased it (it was actually $39 when I bought it), I realized that it could also do other fun stuff.

It allows for using an image (e.g. our company logo) as the watermark, or text, if I choose. I can change the size and transparency of my image and place it anywhere in my video.

It also downloads the DVD material to my computer as a MOV file and will change it's format to just about anything I want - even across different platforms and can encode for just about anything. And it will also convert audio files to other formats. And, as an added touch, it has a burning option (I get rather tired of working in iDVD and having to remove all the menu garbage).

Just using Wondershare and iMovie together, I can download, edit, watermark and upload to YouTube without needing to call IT (aka my husband) while at work. (And Wondershare has an "edit" option that will export your file to whatever editing program you are planning on using.) Quite helpful when choreographer trust contracts now require that we DropBox videos of our performances.

97
I believe what you are practicing is standard. As the SM, it is my job to call the show, while my ASMs manage SR and SL. For the scale/demand of productions that I am doing, there isn't time for me to manage props, crew, etc while calling. For ballet, I call from backstage right, but I do let my assistants make the calls until places, as they enjoy doing it.

There have been several instances during tech or a performance where the show Steward (I work with IATSE crews), on-call doctor, house manager or musician rep will want to speak with me while I am calling the show. I always redirect them to my ASM or PA, as I need to focus on the show. I train my assistants to be representatives of the SM team, and therefore represent me to others.

Another reason that I have SM team members on both SR and SL is that they are there for the performers. If someone has an issue on SL and I am on SR, I won't know and can't help them. My ASM on SL can tend to their needs, inform me of what is going on, and she can resolve the situation. The same goes for my PA on SR. If I am in a busy sequence and a performer is hurt/needs attention, she can radio house staff for the doctor and can tend to the performer while the show continues.

You have to be able to trust your team to handle the stage and the performers. If you do micro manage everything, your assistants won't be able to learn how to do the job correctly and you'll hinder yourself, and potentially, the production. Every SM's style is different, and the needs of each production/theater company can vary. Personally, when I have called from a booth, I do make a point to stay backstage making calls either in person or over the PA (depending on what's available) until the 15 minute call. After that call, I need to focus and get myself ready, and head to the booth. (I will check sign-in sheets at the half hour call, as my assistants are usually busy making sure the stage is set at that time.) I see nothing wrong with your "habit", as long as the show is running smoothly and your performers are safe and happy. 

98
Shakespeare Santa Cruz
http://news.ucsc.edu/2013/08/shakespeare-release.html
(One friend made comment that there wasn't any statement from the actual AD of the theatre in this University press release - implying he wasn't given the opportunity.)

More:
http://www.santacruzsentinel.com/santacruz/ci_23948559/ucsc-end-shakespeare-santa-cruz-after-holiday-production

More still: A blog post/commentary, which basically accuses the University of blaming the closing on Equity actors (LORT D I believe?) It includes a response from the AD.
http://parabasis.typepad.com/blog/2013/08/what-killed-shakespeare-santa-cruz-1.html

On a positive note... http://www.shakespeareplayon.net/
Thanks to donations and quickly collected and dedicated advisory board (with some famous names), Shakespeare in Santa Cruz will play on - as Santa Cruz Shakespeare.

99
Stage Management: Plays & Musicals / Re: Remount forms?
« on: Mar 15, 2014, 04:27 pm »
With ballet, we are constantly remounting the original. When I first started, I found that archives of the paperwork were generally incomplete and rarely updated. To make life easier for myself these past 11 seasons, here is what I do:

A HARDCOPY (and Electronic) folder for every ballet which contains the following:
  • Schedules: The actual tech/performance schedule with my notes indicating what REALLY happened during those blocks of time. Any other schedules pertaining to the program (massage, Physical therapy, dry ice delivery, etc)   
  • Casting: A copy of the program, casting insert(s), the actual crew member names, backstage list showing who was all on staff/volunteering at the time.
  • Production: Updated* copies of the line set schedule, prop preset, "ground plans", deck activities for each department, ASM/PA run sheets, rail cue sheet, spot cue sheets, PSM calling script, sections of the score (if available), and performance reports.
  • Students/Supers: If there are students in our professional productions or supernumeraries, I save all of their audition packets/offer letters, casting, contact information, sign in sheets and theater packets for future reference.
Updating the Production Paperwork is a MUST*
  • My team and I set aside a few days after each production to make sure all of our notes match and update paperwork accordingly.
  • It is my job as PSM to update the spot cue sheets and my calling script.
  • My ASM works with the PA to update all deck paperwork and rail cue sheets (incorporating notes from our department heads).
  • There are even times where I will write notes into the calling script that state "For the next production, discuss moving this cue here" or "It would be better for this set piece to come out of SR 2 then exit in SR 1".
A Written Team Debrief File is created for the larger shows
  • Besides the notes I write myself in my cue sheets, I sit with my team and discuss what worked and what didn't. This is very important for our larger story ballets which involve students from our school, supernumeraries from the public and lots of parent volunteers. We discuss what our optimal SM staffing would be for future productions of this piece, what the volunteers should really do and how many there should be, and what we learned about communication with the students/supers. We may also include a more detailed breakdown of what happened in tech, if there were any hazard pay situations that could be avoided in the future, etc. This file is also included in the Hardcopy and Electronic folders for the archive.
     
Review the Archive before Remounting
  • Once our season is announced, I pull all of the hardcopy archive folders for those shows we've done before, and I find the electronic files as well. I read through everything to see what information I have and what I need to find. I also remember to bear in mind that while we did perform this production in 20XX with all of these notes this specific way, there is a possibility for change, and I need to be open to that.
For me, any information is helpful information. When we perform a company premiere, I like to get as much information from the trust/estate of the choreographer as possible. I've even reached out to other ballet PSMs asking if they have a calling script for a particular piece in their rep that they are willing to share with me. Every time I've asked, the PSM has willingly emailed it to me. I've even been requested to email my calling script to designers and choreographers, so that they have something to go with their pieces.

We are remounting Petit's Carmen this season, and I did so much research, translation from the French notes, and updating after our 2011 production, that it was easy to answer my Artistic Director's questions regarding scheduling for tech. I pulled my archive folder, got the old tech schedule (with my post-show notes) and was able to tell him what we did back in 2011, how long things took, and we were able to make a more educated schedule for tech this season. The files will not only help you (or another SM) run the show, but can help your company make more educated decisions when remounting.

EDIT: Formatting - PSMKay

100
The Hardline / Re: "Soft" rehearsal schedule and breaks
« on: Mar 13, 2014, 11:49 pm »
Here's a thread that has covered this subject a little bit:

http://smnetwork.org/forum/the-hardline/on-the-clock/

The general rule I follow with AEA and AGMA is that the first clock of the day starts with the posted call time. Especially in your case, if your actor has to wait 30 minutes after the posted time for a rehearsal to begin...he could've used that 30 minutes elsewhere instead of being on standby. That is paid time.



101
Employment / Re: Hiring a rehearsal SM and performance SM
« on: Mar 05, 2014, 12:58 am »
I don't think it would hurt to ask, though I believe BARussell brings up some really plausible situations. I know Matthew Shiner has posted on this forum before about being just a rehearsal or just a performance SM, and I myself have been just a rehearsal SM and just a performance SM.

Speaking for myself, it has all come down to scheduling. Just before I was to go into prep at a Shakespeare company, I got a job offer for a resident ASM position at a ballet company (that paid more than Shakespeare). The ballet job was set to start just after opening of the Shakespeare show. Since I was able to give over 4 weeks notice, the company decided to keep me for rehearsals and hired a replacement at tech. In another instance, I replaced a SM a few days after opening, because it was known in advance that she had to leave for another project. She and the director were friends, so they agreed that she would get them through rehearsals and opening, then I would take over.

Based on what you said regarding their preference to bring back a previous SM, they may want to work with that person, but their schedule only allows for a certain segment of the time. I wouldn't take it personally. While it may seem strange, it isn't unheard of.

102
I have done multiple new works musicals and the theater I worked for always used colors for new pages. However, unlike TV, the colors were not associated with the day, but with the revision number. However, if there was a total re-write (like the entire 2nd act) that was issued in White.

I will say it helps make it clear that everyone is reading off the correct version (blue pg. 12 vs. yellow pg. 12) - and your script does end up looking like a rainbow. However, as others have pointed out, you do run the risk of running out of a particular color. I also have been in a situation with so many re-writes (over 7) that we did have to double back through the colors, which is yet another reason to not use this system. I've never come across the double-sided vs. single-sided issue. Everyone got single sided and had to deal with it. (We also ran the songs in color, if there were revisions.)

The important thing is to have a system in place in advance and just make sure you have enough reams of the appropriate colors. I will say, after years of color coding the revisions, last year that particular company decided to nix the color-code system and just reprint with dates. It made it a bit harder on me, as my author was not that savvy so I had to insert text boxes with dates on everything, re-paginate and I myself even lost track of which version was which (especially with 2 or more revisions in the same day), when all I was looking at was a pile of white paper.

It has its pros and its cons, but ultimately it has to be what will work for your team - and your sanity.

103
I will echo what others have said in regards to working on a new musical. Sometimes I have taken the time, after a workshop musical has closed, to work on updating the script and fixing the pagination for the Creatives. Unfortunately I don't have the software on my personal computer to edit the score to correct the numbers on the songs/lyrics, so those items sometimes get left out. On my most recent project, the best I could do was to get the Composer to update any lyric changes in her score. To try to renumber was just about impossible. If the Musical Director and I would agree on a new numbering and he updated the files, there was no guarantee that the Composer would stick to them when she made revisions. It's just the luck of the draw. And when the Creatives decide to entirely scrap Act 2 and make a new one - well, it's all fair game, especially when they decide to start the pagination of Act 2 back at 1.

And yes, Wizard of Oz has been around forever, but as Matthew said, what monetary benefit is there for the publisher to renumber songs? Who knows - perhaps not renumbering the rest of the score after #7 was cut became a sweet reminder to the original team who worked on the piece. Just a thought.

Also - if you were working on a new piece, and had over 20 songs in your show, and you cut #7, would you really want to go through everything and renumber it all? Or would you turn to the company and say, "Hey everyone, #7 is cut. Please make a note of it."

104
Introductions / Re: Happy to Find this Forum!
« on: Feb 01, 2014, 02:15 am »
Welcome, Christina!

I am also in the Bay Area - PM me and I can invite you to a Bay Area Stage Managers facebook group, where you can find local SM jobs and connect with other Stage Managers.

In the upper right corner of the website is a search box. Try using the search function, and you may come to find what you're looking for. There are tons of posts about resumes on the Employment Board, not just in the stickied topic at the top of that board. If you can't find the answer you're looking for, you can make your own topic - like what you've done recently regarding the 4 venues you work in, or you can add a question to the stickied topic about resume formatting. A lot of regular members use the "Show Unread Posts Since Last Visit" link (which is in the top left corner of the site) when they visit - and they will see your question without having to hunt for it.

Best wishes!

105
The Hardline / Re: How did you get your card?
« on: Jan 27, 2014, 01:16 am »
I wasn't aware of the EMC program when I interned at A.C.T. in San Francisco, but my next job - as a PA with CalShakes - my SM was kind enough to explain the program to me. She called a friend at Membership in LA, I paid my starting fee, got A.C.T. to sign my forms and I started my 2 year task of earning my weeks. By closing of All's Well That Ends Well at CalShakes in 2004, I had earned my weeks and got my card that November.

My first AEA gig was in March 2005 for Magic Theatre's A Reckoning, and I began my 4-season AEA SM track at CalShakes later that summer.


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