Messages

931

The Hardline / Re: Possibilities of SM / ASM staying on if show get picked up?

« on: Dec 20, 2011, 04:35 pm »

That's a good question.

Regardless of the rules the chances boil to the following:

1) Do you have a contract with future rights or rights of first refusal attached?
2) Does the director like you? Does the director think you are the right person for the shepherd the production?
3) Does the producer like you?  Do they the think you are the right person for the job?
4) Does the GM like you?

If the show is going to Off-Broadway (commercial or non-commercial run), there is no "experience" rule hinged on that. 

If the show is going to Broadway, then there is the 67(J) Rule . . .
(J) In order to maintain the high level of professionalism in production as well as the necessary backstage safety and discipline for the efficient running of the production, the Producer agrees to hire as the Stage Manager only someone who has been employed previously for at least 20 weeks or in three separate productions as the Stage Manager, or 40 weeks or in six separate productions as an Assistant Stage Manager, or a combination of these (two weeks or two productions as an Assistant Stage Manager equals one week or one production as the Stage Manager) by an employer or employers maintaining professional standards at least equal to those maintained by theatrical employers who are members of The Broadway League, the League of Resident Theatres, the League of Off-Broadway Producers, The Council of Stock Theatres, the Council of Resident Stock Theatres, the Musical Theatre Association, Producers' League of Theatre for Young Audiences, the Producers’ Association of Chicago Area Theatres and URTA.

NOW . . . remember, if you are the SM, and the show moves up to Broadway, and you don't qualify, there is always the push for you to be the ASM.

But remember, if they don't like you there is ALWAYS some way to get you of the contract  - buy you out, fire you before the transfer, etc, etc . . . there are lots of ways to work around the rules.

So, you are asking about the chances of you would get to the stay with the show, it all depends ........... NYC is filled with stories with SMs who have ridden their shows to the top, and also with SMs who got kicked out the show got "bigger".  Interesting, there are also stories of SMs who rode their shows up . . . but soon realized (or it was realized) they couldn't handle the larger version of the production. 

932

The Hardline / Re: Re: Breaks During Run-Throughs

« on: Dec 20, 2011, 02:14 am »

I would argue that a read thru, up until intermission, would count as a run - but I would give a longer break. 

Now, if they were discussing and not just reading, then I would call foul and take a break.

But, I feel like you can always prepared everyone for this by saying, we are going to do a read of Act 1 up until intermission, and then take a 15 minute break. 

I have never had a cast question that choice. 

933

Self-Promotion / THE TOTAL BENT

« on: Dec 19, 2011, 11:05 pm »

So, although the holidays I am "off", I have started work on my next show.

It's going to be . . . quite the production.

http://www.broadway.com/shows/total-bent/

934

The Green Room / ARTICLE: NYT about Nonprofits in NYC looking like profits

« on: Dec 17, 2011, 11:59 am »

An interesting article about some change aspects of the non-profit world in NYC . . . or maybe not changing, but a good look at some practices.

http://www.nytimes.com/2011/12/17/theater/nonprofit-theater-companies-enjoying-well-profits.html?_r=1&ref=theater&pagewanted=all

935

Stage Management: Plays & Musicals / Re: ASMs: What is in your intro/rules speech to your new ASM?

« on: Dec 16, 2011, 06:28 pm »

True, I don’t do a speech – but start a conversation from the initial interview throughout the entire process.  You have to time some of these things along the way to the whole team, not just the ASM.

1)   We are a team – first and foremost.  Not just a top down linear power structure, but a team. 

2)   No one should ever get emotionally attached to paperwork or job assignments, we may switch things up – it may not be a reflection of your talent or work, but just the needs of the team.

3)   Don’t view information as a commodity.  When working on large teams, we divide and conquer tasks.  So, it’s my job as PSM to make sure to edit out the noise, and give the right people the right information – you may not need to know everything. 

4)   Don’t start on a huge project on your own without checking out with me – I love initiative, but it maybe assigned to another team member, or I may have a reason why to wait on the project.

5)   Even if you aren’t working on a piece of paperwork, learn what the other team mates are working on – at least enough to take over in a pinch, or help out.

6)   We are here to do a job – not here for you to work on your career.  This means for me you don’t bad mouth other team members to make yourself look good.  Don’t be paranoid if I have a conversation with one team member and not you – it doesn’t mean you are being fired.  (If you are being fired you will know it.)

7)   Confidentially is key.  Anything said among the team, stays among the team.

   It’s vital that we keep an upbeat, positive atmosphere about the work.  Don’t facebook or tweet negative things about the work or the show.  It has a way of getting back to people.

9)   If you are having a bad day, or a personal issue that might effect your job, please tell me – maybe I can rearrange job duties that day.

10)   If you need time off, talk to me – maybe we can work something out.

11)   If you feel like you have TOO much responsibility, speak up.  You know your own limitations.

12)   Everything that happens goes into the production report – had a conversation with props in the hallway, put those notes in.  That report is a sum of all the day’s happenings for the show.  I will edit out what I need to.

13)   Every team member from Intern to PSM should be watching rehearsal like there are the PSM, although with a focus on their area of specialty.  If you notice a problem or an issue arriving, speak up . . . please, make the team look good.

14)   Anything your send out via e-mail, I should be cc’ed on.

15)   Any paperwork you are going to send out, I should be given the option of looking it over – and if it is the first time we are sending out a piece of paperwork – FOR SURE MAKE ME LOOK OVER IT.

16)   I am not a huge fan of stage management having relationships with the cast and/or crew.  If you can’t avoid it during the production, please try to keep in on the down for the rest of the company.  If you are dating someone, please let me know . . . sometimes there are confidential issues I would have to keep you out of the loop on.

17)   Lot’s of time the PSM is above the fray of the common gossip, please keep me in the loop – often from that gossip – one can find out cast members are unhappy or other issues are in the works – and we can problem solve on the sly.

18)   We need to be clear to people about when we expect things.  Do not over use ASAP (if everything is ASAP, then we start saying sooner then ASAP).  Give a day and time, you can not be more clear then that

19)   In tech, I need an ASM to be aggressive about their needs on deck, and make sure the show is tech’ed as well as it can be on deck given the limitations of our process.

20)   NEVER MAKE ME APOLOGIZE FOR YOU OR YOUR ACTIONS.  Everyone needs to sort of learn to adapt their style a bit to many, but the ABSOLUTE WORST THING that can happen is for me to go talk to someone, and they say, your assistant did this “terrible thing” (and it actually be a terrible thing) in the name of the show, or even worse, in my name. 

21)   And the end of the run, we have a production book that is complete and clean enough that another team should be able to pick it up and put together the show we did.

22)   During tech, remember I have lots of voices in my head.  Please be patient wit me.  Let me know you have heard me and are working on something by saying “working”.

23)   Don’t hold it in – if I do something that upsets you, puzzles you, mystifies you – find an appropriate time to check in with me.  It maybe a genuine misunderstanding.  It maybe there is a genuine issue we need to solve.  But let’s not just sweep it under the rug.  I have bad days too.

24) One of the great things about working with a large team, is the ability to learn from each other - please feel free to speak up if you think you have a better form, a better way of approaching something, etc, etc.  Also, don't feel you have to completely adapt to my style - no, you just have to be able to work within my style.  I don't need a team of four or five of me (for those that know me, that would be terrible!)

936

Employment / Hiring in NYC: Experience and other factors

« on: Dec 15, 2011, 06:12 pm »

I recently had to do something I really hated.

I am had to recommend someone for a position I wanted them to fill.  Not because anything the did, in fact, they are a wonderful, young stage manager.  It was because the project changed, got bigger – the more I learned about the scale and scope of the show and the personalities involved, I just thought this person and this position were not a good fit.

Some some notes . . . and other things from a recent hiring burst . . .

It’s hard – I find that some younger stage managers don’t quite get the value of experience.  When you are offering a position that pays $XXX amount of amount, the goal is to hire the best person, with the best experience – because ultimately, that’s what you do when you hire a stage manager, you are renting their experience, their skillset and their personality, and banking they are the right person for the position.

Here are some hard truths.

It’s very hard to go to a producer/general manager and pitch that a 24 year old ASM with 2 years post-college experience is better then a 30 year old ASM with 8 years post-college experience – all things being equal.  But remember, rarely all things equal.

Now, at the level I am working at, I am hiring an ASM who can take over for me in a heat beat.  So, I am basically hiring another PSM.  That’s a mind shift for me now – when I go in and pitch a ASM to producer/general manager, I need to make sure in the back of my head, this ASM can take over for me if I step out of the room, are gone for the day, or just step away from the production. 

As much as we hate to admit it, not all stage managers are right for every job.  There are some stage managers that can do a wider array of gigs, there are some who are much more specialized.  (I never get hired to do simple, small cast, unit set shows – IT NEVER HAPPENS.  That’s not what I am know for.)

Jobs are not rewards for the past success . . . not directly.  (I mean, success builds experience, which leads to better jobs).  But just because you worked for me before, doesn’t mean I am going to hire you for the next job.  As much as I would like to work with the same people over and over, now that I am working on a larger variety of projects, I need to diversify the team I work with – and to be honest – in NYC – calendars NEVER line up.

Also, this is sad, but in a huge flood market in NYC, one bad impression, can hurt for a long time - - - if I am looking at seven people for one gig, and I have all glowing recommendations, except one is lukewarm, that person is off the list, and probably off the list for good. 

And just remember, that often times, it is not just the SM who will be making the choice, General Managers / Production Managers / Producers / Company Managers all may have some sort of choice that weigh in.

937

Self-Promotion / Re: TITUS ANDRONICUS

« on: Dec 14, 2011, 01:39 am »

http://theater.nytimes.com/2011/12/14/theater/reviews/titus-andronicus-at-public-lab-review.html?hpw


(NYTImes Review)

It's a hit, we run all week . . . seriously, the tragedy of the public lab is we open and close the same week . . . insert sad face.

http://www.nytimes.com/slideshow/2011/12/14/theater/20111214-titus.html

Opening Night photos  http://www.playbill.com/multimedia/gallery/3407

Oh the stories to tell from this one . . .

More photos on my web site . . . http://www.stagemanager.net/Stagemanager.net/Photos.html

938

Students and Novice Stage Managers / Re: Observational Awareness Training?

« on: Dec 09, 2011, 03:28 pm »

Start to question everything.  It's the only way to do it.

In reality, this is a very har skill to build up without working on long runs - and then without working on long runs without something going wrong.  I always joke that after three months it becomes like just seeing glitches in the matrix.  I can watch a show, and ONLY see the four things wrong on stage - your eye becomes drawn to the chair off spike, the light burnt out, the late spot pick up, and the actor in the wrong costume.  But, it takes awhile to train your eye to build up to that.

On that note, there are a lot of visual puzzles, like the ones with two pictures, and you have to note the differences, that might help.

939

Tools of the Trade / Re: Backstage Calling Station/Console

« on: Dec 07, 2011, 06:06 pm »

oh, and beer on tap . . .

940

Tools of the Trade / Re: Backstage Calling Station/Console

« on: Dec 05, 2011, 06:45 pm »

Flexibility in monitor location
Space for a pen/pencil cup
Ability for two headsets for training
Lockable storage
USB Charging!!!!  (Seriously, this needs to be standard backstage)
Edison power
Phone

941

College and Graduate Studies / Re: Grad Schools for SM... tuition stipend?

« on: Nov 30, 2011, 02:00 pm »

All the out of state students, would become in-state by the second year - so the tuition could be paid by the state.  Otherwise, just the instate portion was paid.  Your first year tuition is paid as either in-state or out-of-state, but I do remember a big scramble for out-of-state students to become instate by the second year.

942

Self-Promotion / Re: TITUS ANDRONICUS

« on: Nov 29, 2011, 01:14 am »

http://www.playbill.com/news/article/156995-Titus-Andronicus-With-Jay-O-Sanders-Begins-at-the-Public-Theater-Nov-29

Tech'ed the show in two days (28 page run book)

Over 7 liters of blood used nightly.  (BUCKETS)

1 meat pie

44 pieces of plywood to track, wash, clean, re-set (2.5 clean up post show)

Weapons galore - pick axes that have to pierce plywood, knives (Some sharp, some not).

A very interesting production; not your typical Shakespeare, and not my typical production.

This will be one tell tell stories about.

Runs for three weeks as part of the Public Theater Lab series in NYC.

943

Stage Management: Plays & Musicals / Re: Beauty and The Beast Transformation Scene

« on: Nov 25, 2011, 12:11 pm »

No smoke, but what about co2?  I would assume no atmosphere . . .  but check.

944

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Rights & Royalties

« on: Nov 20, 2011, 12:35 pm »

Well, I think the insider tips is they should tread very carefully as it's not normally with in the stage managers prevue - it involves income, ticket sales, gross and net - they will most likely need access to that . . . depending at which level and they are producing.  And, some managers, agents, etc - may try to take advantage of a stage manager who negotiating these rights instead of a business manager or a general manager.

Just think, if you a had theatre company have a assistant technical director hire a PSM - that would a little odd, right?

945

Stage Management: Plays & Musicals / Re: PRE-PRODUCTION: Rights & Royalties

« on: Nov 20, 2011, 10:31 am »

There really are some legal and contractual issues in negotiating these things that are not just "How much is it to perform this show?" - and you probably don't want to put YOUR neck on the line - unless you are on the one who is going to sign the contract.