Messages

91

Students and Novice Stage Managers / Re: Is It Even Worth It?? (Conflict resolution)

« on: Feb 22, 2013, 05:10 pm »

I SM'd one, yes one show in high school before applying for my BFA, you won't lose out cause you don't have this one experience, they are looking for a lot more than just credits when applying for stage management. I wouldn't make it a big drama, just let the chips fall where they may, your director should really be making these decisions.

92

The Green Room / Re: "I quit!"

« on: Feb 22, 2013, 04:59 pm »

  But, let's remember, we are free lance employees, so much sure you are quitting for the right reasons - you don't want to be know as a stage manager who drops a show on every whim.

So true and I think that fear is what stops most people from ever quitting.

I know I only had one experience where I had reached "the point". Of course I didn't quit and I regret it.

93

The Green Room / Re: "I quit!"

« on: Feb 22, 2013, 01:17 pm »

Due to the nature of the typical personalities that tend to gravitate towards stage management, I find that quitting jobs isn't discussed without some trepidation, whereas if someone was in the same toxic environment in the corporate world, they may have quit sooner and been proud of it. I think it's our nature to stick it out for as long as possible because of the small world we work in.

I think part of the problem is a producer-centric world where stage managers may often be asked to perform above and beyond the call of duty, with little support, and times little pay - and continue the mentality that if you quit "You will never work in this town again!" - regardless of how toxic the work environment is.

Silly, huh?  Maybe if more people quit these terrible jobs, producers would understand the cause of the toxic environment is not bad stage managers, but the other causes.

I think some of it is ingrained in us through our training and experiences, We are told to put up with tough personalities, deal with people yelling at you for things that aren't your fault,  work for low pay at really inconvenient times, travel away from friends and family, start from the ground floor and work your way up, put in the hours that are necessary to complete the work (which for us  means to make it perfect) which is never just 40 hours.

 We are never told what "isn't" our job, when it is too much, when you should say no, when the experience that was great for someone else might not necessarily work for you. That's the stuff I fear everyone learns the hard way.

94

Introductions / Re: A little about me and the drama company of Perry County Central High School

« on: Feb 21, 2013, 06:58 am »

Welcome John. That sounds like a great program.

95

The Hardline / Re: AEA Centennial celebration website is live!

« on: Feb 19, 2013, 02:46 pm »

What a fun website, lots of stage management stories.

96

Stage Management: Plays & Musicals / Re: PEOPLE: Working with an IA crew

« on: Feb 19, 2013, 04:13 am »

Thanks everyone who has responded, sorry it has taken me so long, but I was working on the exact paperwork you were describing all day today (complete with lots of pictures and diagrams). I am assigned to wardrobe and costumes so it's not too tough for me, but I've been helping out on prop paperwork. Luckily the other ASM and SM have worked with union crews before so they will be there to help, and most of the stuff you mentioned we have taken care of. I just don't want to be the weak link and everyone on here always has great advice and tips.

 If anyone can think of a specific "this is a common SM task in a non-union house but a big no-no in an IA house" sort of thing that would be great for helping me, i'll probably bring notes on all of this to tech.  Talking to the TD seems like a great idea so that's probably my next step. It's sort of convenient not being able to touch or move anything considering I'll be carting around a 4 act score. I feel a lot more confident but if anyone else has any good tips or reminders keep 'em comin!

97

Stage Management: Plays & Musicals / PEOPLE: Working with an IA crew

« on: Feb 18, 2013, 02:16 pm »

My question is sort of similar to this so I figured I'd attach here. I realize this is from a million years ago but I looked all over the board and didn't see an answer.

I am working with an IA crew for the first time (yay!). I have worked on big shows with large crews at many places but none have been union so far. I am excited and scared. As the ASM what can I NOT do when it comes to dealing with union crews. I already know don't touch props, or costumes, but what else? I'm just so used to jumping in there when something needs to be done, do I do spikes? Are singers allowed to get their own props?  Do I do run sheet assignments? HELP! This is for an opera, Aida, so I won't be bored backstage with all my cues, but I just don't want to look like an idiot on that first day of tech.


Mod Note: This topic split from ASMS: ASM during Tech - Maribeth

98

Employment / Re: Interview Scheduling

« on: Feb 16, 2013, 02:31 pm »

I don't think it is hurting your chances, we tend to over think these types of things. I mean they are just as unavailable as you, and people who have done this before understand how difficult it is to find the time. It's even worse now that I am on the west coast applying for east coast jobs and time zones, and different schedules, but I haven't seen it hurt my chances. I say as long as you are doing everything you can to try to make it work they will appreciate that and keep it in mind, coming up with great alternatives will probably also make you look good. This could e a good thing.

The one Skype interview I was supposed to have failed and ended up being a phone interview...I still got the job though! I like in person interviews the best,  but haven't done one in such a long time I'm just used to doing phone interviews.

99

Students and Novice Stage Managers / Re: Troubleshooting Procedures during Performance

« on: Feb 15, 2013, 01:28 pm »

While I see why some people would think it is a weird request, I've worked for companies and on shows where you pretty much know certain things that could go wrong  so you have systems in place ahead of time for everyone's safety and to keep things running smoothly.  That seems like a pretty good way of handling it, just make sure you let everyone else have  a copy of the procedure, and one thing I would change is that if the lights go out and do not come back on the actors are going to have tough time navigating backstage by themselves, you should definitely have an ASM or stagehand go out and rescue them with a flashlight. Actually even when it is not dark sometimes it is best for you to make the call and have an ASM go onstage to get them. You or an ASM might know when a broken prop presents a hazard before the actors do themselves.

100

Employment / Re: Internship Choices

« on: Feb 15, 2013, 01:15 pm »

The tough thing about Opera is that it is hard to find a position where they will accept you without any experience, so if you ever plan on working in opera or even have some interest, taking this opportunity now would come in handy in the future. That is not to say I think that is the right decision.  There are  many other factors to consider, I would just make a pro/con list. I would hate to influence you based on how I feel, but if you really would like to know what I would do and why send me a message.

101

The Green Room / Re: Steering your career . . .

« on: Feb 15, 2013, 12:51 pm »

But in the end, is this truly a career you cannot steer?  Should I be satisfied I am working, and just take the next job?  Should I let fate/destiny/luck take control?  How do I keep from just doing the same thing over and over?  (OR, OR . . . should I accept that I am really good at what I do, and have been doing, and be happy with that?)

While I do find that sometimes fate has more of a say in where our paths lead than we do ourselves, I don't think we ever have to settle.  In all fields we have to make decisions and choices, but for us in theatre it is multiplied to the nth degree. Every few months we question whether we are making the right choice. Pay vs. Name Recognition vs. Location vs. Experience vs. Stability vs. Hours vs. Fulfillment vs. Goals vs. etc etc etc. It can be exhausting. I think you have no reason to  just accept what comes to you, or what you think you deserve or what other people say you should take. My worst experience ("so far") came from taking a position I didn't really want to because I felt I was "supposed" to work there. 

Just from the fact that you asked that last question tells me you are probably not  going to be able to convince yourself you are happy with where you are know, I don't think there is anything wrong with that it gives us a reason to fight and work hard and keep going day by day. For me it feels like every time I climb one rung  I'm looking up to the next, or sideways to that other ladder.

102

Introductions / Re: Hello!

« on: Feb 15, 2013, 12:33 pm »

Hello and welcome aboard! If you scroll around the pages you will find lots of useful information.

103

Stage Management: Plays & Musicals / Re: TECH: Thoughts on paper tech

« on: Feb 14, 2013, 02:37 pm »

I find paper techs impossible to organize, designers are very slippery. I like to be able to paper tech with each department if possible but at the end of the day if they just give me their cues ahead of time I can work it out in my book before tech and sort it out with my team so we come as prepared as possible.

104

Self-Promotion / Re: Mary T. & Lizzy K.

« on: Feb 14, 2013, 02:29 pm »

I love Arena Stage it's so beautiful, and I remember going to it when it was definitely not beautiful, so it is ten times more beautiful because of that. I just want to live there... but congrats and have fun!

105

Stage Management: Plays & Musicals / Re: No Understudies Versus the Show Must Go On

« on: Feb 12, 2013, 01:40 pm »

It's vicious to sit there and toss a problem at an individual who is hired to be a problem solver when it's something you should have planned for from the beginning.

They do it because they know we will solve the problem, and they know people will step up, it is a dirty trick, but it happens, and at the end of the day the money is okay, and stage management magic has overcome once again. I am also under the impression that if we do not have understudies then there is an expectation of cancelling when someone is out. It really is "not our job" to hire people, which is exactly what we are doing hiring and casting.