Messages

1

Employment / Re: Working in LA

« on: May 26, 2009, 12:32 am »

Typically every CTG production will have at least one PA during rehearsal.  The Ahmanson (LORT A) always has at least 2 SM's (but usually 3) and a PA who can't be built into the run of the show.  The Taper always has 2 SM's (again, sometimes 3) and can have their PA be a part of the run of the show.  The Kirk Douglas only needs one SM and the PA can be the one running the deck.  Although lately they seem to be hiring a 2nd SM for that venue.  Going back to Matthew's last comment, they do usually hire SM's from NY since they do so many co-productions with Broadway aspirations that they tend to hire at least one NY SM on each of those shows.  When they did Pippin this year, the PSM and 1st was from NY, their 2nd was local, and they had 2 PA's who were built into the run of the show (again, both local).  And loebtmc you're right.  CTG has a relationship with USC so they get a lot of interns through that school.

2

Employment / Re: Working in LA

« on: May 25, 2009, 10:57 am »

I agree with the cliquey assessment.  It's really interesting that none of the major LORT houses there have resident stage managers yet they all have their own small pool of freelancers that they pull from.  It is definitely easier to get in over there if you're nonunion, only because theatres such as CTG and the Geffen, for example, have LORT D houses that allow them to hire a nonunion ASM.  I also know that the Kirk Douglas (CTG) and both of the Geffen houses have nonunion crews, so anyone with some sort of technical background could try to get an "in" by crewing at first.  My "in" was through interning as a PA a few years ago which then rolled into a paid PA position on the next show, and then a year and a half later getting my card with them.

3

Stage Management: Plays & Musicals / Re: Care and Feeding of your Crew

« on: May 25, 2009, 10:36 am »

Wow.  I hope the that SM team is on this site, reads this thread, and feels ashamed.  Were you on an IATSE contract with this show or was this all non-union?  If this were a union show I seriously hope this was reported beyond the house staff.  Blatant disregard to people's safety by flying things in at random times is inexcusable.

4

Employment / Re: Working in LA

« on: May 22, 2009, 01:08 am »

There are plenty of stage managers in LA/SoCal who make their living as a stage manager.  It's hard to make a living starting out as a non-union stage manager anywhere, but I think the best thing to do careerwise is to email some of the bigger companies like the LORT houses and see if they need production assistants.  If you go to Equity's website, look under documents for the LORT rulebook.  The final pages will list the theatres and their addresses.  Look at what's commutable, look up their website, and email the production managers your resume.  Besides LORT, there are some theatres that use the SPT or HAT contract that don't require the ASM to be union, so you could angle yourself to be an assistant on those shows.  Disney is another alternative, as is LA Opera.  The good thing about LA is that there are a lot of TV/Film stuff you could find on Craigslist when you have gaps in your schedule.  I hope you've been having luck on your search!

5

The Hardline / Re: Stage Manager's Association

« on: May 20, 2009, 09:08 pm »

I went to my first meeting on Tuesday after having recently joined and enjoyed getting to meet a whole new group of people.  As someone who recently moved to NYC from LA, it was nice to broaden myself into a network of people I would have otherwise not known. 

6

The Hardline / Re: AEA Stage Manager...can they PA on AEA shows?

« on: Oct 07, 2008, 02:20 am »

So in a twist in events, I was offered a contract on the show because they liked my PA skills during tech and have stayed on the show since.  I guess it was a great move for me.

7

The Hardline / AEA Stage Manager...can they PA on AEA shows?

« on: Jul 10, 2008, 02:47 am »

I have a dilemma.  First of all, I am an AEA stage manager and have worked in several Equity contracts.  I was offered a chance to PA on a new musical that is going to run at a LORT house in California before going to Broadway right after.  I believe every union actor/SM will be on the production contract.  I told them I couldn't do it because I'm Equity.  They responded that I could in fact do it and that there is no rule that says I can't take the job.  Now, this show already has a whole AEA SM team in place, so I know that by taking the PA job I am not cheating anyone out of what should be a union position.  And it would be an amazing experience to work on a world premiere musical before hitting Broadway. 

After conferring with other stage managers, I've heard there may be an exception for Broadway shows.  I've heard that I would be breaching my own agreement with Equity.  I've also heard that Equity doesn't care unless they're not getting the money they should from the producers.  There doesn't seem to be an agreement on what sort of path I should take.  Should I take the job?  Would I get in trouble?  Will pigs ever fly?  So many questions!