Messages

91

Students and Novice Stage Managers / Re: Writing Standbys & Cues

« on: May 14, 2008, 12:31 pm »

I'd add- if your going to use stickers in your book- be aware of what level/color your booth lights are.   

I would also imgaine they'd need to be removeable stickers: you can expect Q placement to change until the show is "locked" -- long after you write your intial book.

92

Stage Management: Plays & Musicals / Re: Musical Suggestions for a limited stage.

« on: May 08, 2008, 12:22 am »

I second I Love You, You're Perfect, Now Change, or what about Putting It Together or Jesus Christ Superstar?

Godspell is probably a better choie for a limited stage than Superstar

+1 on Fantasticks

93

The Hardline / Re: Production Meetings

« on: May 02, 2008, 10:07 pm »

For me, especially on smaller budget projects, I try to keep production meetings to a minimun and save them for those critical junctures when all the side conversations have been exhausted.  Does that make sense?

94

Tools of the Trade / Source "Blood Knife"?

« on: Apr 30, 2008, 02:25 pm »

Anyone have a source for a really good "Sweeny Todd" style blood knife prop?  (Ya know, a prop knife that's gimmicked.)

(I'm less concerned with cost than with being in stock).

Thanks in advance!

95

The Hardline / Re: Joining Equity

« on: Apr 22, 2008, 10:04 am »

I have recently been offered my first Equity contract, to go into effect in about 3 weeks (when my current show closes). 

My first advice would be to read carefully and familarize yourself the contract you'll be working under.

96

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 16, 2008, 11:02 am »

My point, and opinion, is if you are a member of one of the major performing Unions, an AFL-CIO affiliate, you may not participate in another Union's jurisdiction without benefit of that Union's contract.
It makes no difference if that particular theater is using a contract, it is YOUR Union status that makes you inelegible.

By that logic, a member of UFT, which is also an AFL-CIO affiliate, would be prohibited in performing in non-union productions.  Or AEA member would be prohibited from teaching high school without an UFT contract.

I have never, ever heard of AEA actors being prohibited from appearing in Non-SAG films or under non-SAG contracts (unless they have also joined SAG).  SAG members are clearly not prevented from working in non-AEA films (unless they have joined SAG).

97

Stage Management: Plays & Musicals / Re: Cast/Crew call format question

« on: Apr 16, 2008, 09:09 am »

I usually go with "Ladies and Gentleman of the <name of show> company...", especially in opera.

I think the extra verbiage helps the performers turn their ears the from the chatter their engaged in to the monitor in time to hear the congent part of the announcement.
(Personal style.)

98

The Hardline / Re: NYTW Laying off Production Staff

« on: Apr 16, 2008, 08:58 am »

Have people being following this?

http://ecotheater.wordpress.com/2008/04/12/nytw-production-staff-fired/

It seems to make a lot of lot of sense, form a management perspective, especially with the lost of revenue from Rent. 

With the troubling economic times, lay offs like this, and the closing of regional theaters (Arena Stage in Buffalo), it's an interesting time to be working in the non-profit theatre world.

Just remember that non-profits like these Off Broadway operate on LOAs (or on the ANTC agreement) that pay Stage Managers around 50% or less of Off Broadway salary while paying tech crews competatively and often building up large layers of middle management that live on salary and also make a living wage.

I hope their place is taken by a for-profit theatre that will pay Stage Managers a living wage.

(Different situation outside NYC, where I think non-for-profits usually pay a vital role in areas that can't sustain as much commercial theatre and -- from what I can tell -- often pay competatively).

99

Stage Management: Plays & Musicals / Re: Tips and Tricks: Raked stages

« on: Apr 16, 2008, 08:43 am »

This might seem obvious or really be more the pervue of a PM, but:
Have a counter rake built and available.

+1

They save a lot of time (though of course you still have to allow for time and crew for the counter-rake to be pulled out of storage, set in place, and removed when finished).

100

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 16, 2008, 08:38 am »

I disagree completely with the last two posts...

You mean you think you're a member of SAG and AGMA by the basis of your membership in Equtiy?  Say it ain't so.

101

Stage Management: Plays & Musicals / Re: Tips and Tricks: Raked stages

« on: Apr 15, 2008, 08:56 am »

Also, while you won't be doing the work yourself, it's good to keep in mind that the rake can increase the complexity of electric maintenance calls for work that needs to be done onstage.

102

Stage Management: Plays & Musicals / Re: Alertness

« on: Apr 15, 2008, 08:51 am »

If you're in a theater where you can see the audience from the booth, it's fun to keep an eye on more engaged audience members and their reactions.

Another fun thing to do is discuss the play itself on headset during longer periods without any cues.  When I ASMed The Threepenny Opera, we used to have in-depth conversations about why Macheath did this or Jenny did that.  If you're able to watch the show and chat at the same time, it's a great way to keep alert.

So you're not taking line notes or watching blocking for maintenance?

Whatever work for you...but I can't say I could condone in-depth chatting on headsets in any circumstance.

(Besides, I think when you reach 100+ performances, you are generally dealing with understudies/swings being put in as actors take vacation time, call in sick, etc., on a regular basis.)

103

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 15, 2008, 08:41 am »

Also, what about union SMs who act in non-union film?  Or, union actors who dance in amateur Nutcrackers?  It seems like the AFL-CIO rule is more of a guideline...

If by union SM and actors above you mean Equity, then there is no conflict in the above situations.  Film is covered by SAG; dance by AGMA.  If you are not a member of SAG you may paricipate in non-SAG films; if you are not a member of AGMA you may dance in non-AGMA productions.

Conversely, just because you are a member of Equity does not make you a member in SAG or AGMA.

104

The Hardline / Re: Musicals at an Opera House vs. AEA

« on: Apr 11, 2008, 08:43 pm »

That being said, if the Opera House is not working with a contract and is completely non-union, don't the same rules of not working non-union, apply?

As I understand it, AGMA allows it's members to work without a union contract in houses/for companies they have chosen not to organize at the current time.

105

Tools of the Trade / Re: Simulating loose pot on stage

« on: Apr 01, 2008, 12:13 pm »

Honey Rose herbal cigarettes (you'll need to deconstruct the pre-made ciagarettes to get the goods loose.)

Edit: In a professional situation, I would be very wary of any substance (oregano, tea, catnip, etc.) that is not commercially considered a smokeable substance.