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Messages - jensparkingonly

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1
Employment / Opinions on Producers
« on: Apr 26, 2006, 03:51 am »
Hmmm...I temp as a "low- key" secretary and often find myself taking and distributing meeting notes...

Another suggestion for getting the info distributed is to offer to help the Producer with their heavy workload by distributing notes. Suggest that you take a few minutes to review the days notes before he/she leaves for the night and politely offer to send out the information for them because you "understand how busy they are." That conversation might start by you saying, "We've made alot of changes today. I know you are really busy, would you like me to type those up and pass them to the designers?" Very rarely will some refuse a sincere offer for help, especially if the result makes them look good.

Good luck!

2
The Hardline / Concession Question
« on: Apr 17, 2006, 02:30 pm »
As stated it is the producing organization/company you are working for that provides the notices. Although you may have to ask them for or remind them to provide the documents that need to be posted on the callboard.

3
Stage Management: Other / Stage Managing Dance?
« on: Apr 15, 2006, 09:13 pm »
If the concert is done to canned music, I do time codes on my stopwatch, since the times never change on recorded music. 0:00 is when I call "go" for sound and the rest is based on where/when the designer or choreographer wants a cue. I usually do the cue sheets in excell and call from the laptop (with a paper back up, of course). This way I can arrow key down and highlight each cue so I know where to look on the screen.

If the music is live I use the score and stopwatch, marking the score much I like I would for opera, every :15 seconds, so I can find my spot easliy if I get lost or look up for a visual cue. I write standby's & cues in the score the standard way (L15, L20, etc...).

4
Employment / Under what circumstance is it right to...?
« on: Apr 14, 2006, 07:18 pm »
Just being honest and professional with your employer about other job offers goes a long way.

I was two weeks into rehearsal for a show on a SPT contract when the director of a national tour called out of the blue and offered me a production contract that went into rehearsal the Tuesday after the show I was working on opened. I explained the situation to the company I was working for at the time and explained that I did not want to leave them in a bind but couldn't afford (either professionally or financially) to turn down this opportunity. I also had a plan in place to cover my position. They were completely understanding and willing to work with me on replacements, etc...   Turns out the tour was postponed a few months so everything worked out in the end.

I never hid what my professional intentions were and I kept an open communication line about the other job as details were sorted through. One of the artistic directors told me she was impressed with how professionally I handled the situation and that they were just as excited as I was about me getting this other offer.  And they continue to offer me work each year.

5
The Green Room / thank you notes
« on: Apr 13, 2006, 05:54 pm »
In general, I think ThankYou's are a must. Especially if you want to leave a good impression with the people you worked with.  You never know whos may be in a position to recommend you for a job sometime down the road.  

Whether it is opening night or closing I don't think really matters. It is all up to personal preference. The cast usually gets lauded over by eachother, the producers, the director; but the stage hands, dressers, wardrobe, follow spot ops usually get forgotten.  It doesn't always have to be a note either...I leave cookies, beer or snacks for my road guys or in house crews which is always appreciated.  Even taking the time to walk around and thank everyone personally for their work goes a long way.

6
This is my post show ritual that helps give me a sense of emotional closure on each show.  I like to save all the media, reviews, cards, photos, etc... for after the show closes.  I have a margarita and read through all the cards, go through the program, and read the reviews. I dwell on the best memories of the production and say goodbye to the show.

7
Stage Management: Plays & Musicals / Creating a call script
« on: Apr 10, 2006, 02:55 pm »
I am a paper and pencil person myself, but I have started dabbling in creating my calling script electronically.  Especially helpful if it is a long running show and different stage managers may be calling.

I use Microsoft Excell. I put the script into the right column and the cues into the left. I use the drawing buttons to add lines and arrows which indicate the 'X' point.

8
SMNetwork Archives / Number Line
« on: Apr 10, 2006, 02:45 pm »
I made mine out of an outdoor display ribbon, 6" wide that I picked up at a craft store. It's a mesh like ribbon you find in the floral supply. They use for outdoor weddings, etc. I attached 4" vinyl numbers to it.  It works pretty well and rolls up neatly for storage. (I purchased the numbers at the hardware store where they sell mailboxes.) I added clear plastic tape tabs every four feet so it could be taped it down & pulled up with out damaging the ribbon. It cost me around $45.

9
Students and Novice Stage Managers / New Stage Manager
« on: Apr 05, 2006, 04:42 pm »
Another suggestion,
See if you can borrow some stage manager books from your theater's archives. This will give you an idea how to organize yourself. You can learn alot about blocking notation and cue notation this way. Try to get books from a few different SM's, to compare the different styles.

10
The Hardline / Actors Equity Salary
« on: Apr 03, 2006, 04:22 pm »
The contracts you are most likely to run into are SPT (Small Professional Theatre), Midsize and LORT (League of Resident Theaters or Resident Theatre Agreement).  Certain cities and regions like LA (HAT & LA99), New York (Showcase, Off Broadway and Production), or Chicago (CAT) have contracts that are tailored to the region. If you live in one these area's you should look under the regional contracts to get an idea of salaries in your area.

Usually they are listed under the heading of "Salary" in the contracts. The index and rulebook is alphabetical by topic. The PDF's you can downlowd from the AEA website are really easy to use.

11
Stage Management: Plays & Musicals / Excitement
« on: Apr 02, 2006, 04:21 am »
The more shows that I have worked on the more I realize that the excitement I feel during tech up through opening doesn't always last. There are times when I am just going to work and doing my job. Whether its due to content, audience response, exhaustion, my bond with the cast or crew, or for some other reason the *mojo* just isn't there.  And these slower times make me appreciate even more the times that are exciting and the shows where everything is buzzing.

Ways I cope with uninspiring shows:
- I find things to look forward to outside of the show...dinner.drinks with friends, bike ride, bubble bath, or a good book.
-I imagine working one of those 9-5 jobs where I have to wear a dress and heels and sit behind a desk doing the same thing all day long. Then I remind myself that I don't do that.
-I bake everyone chocolate chip cookies or brownies.
-I look for positive notes (I call them "Gold Star Moments") to give the actors and encourage them to continue doing the good things they are doing. (The actors may feel the same doldrums you are feeling and a giving them a gold star goes a long way to encouraging both of you.)
-I avoid all the show media until it has closed. That way I won't get depressed about what the critics have written. And if it was a good show, it becomes a treat to read them after closing.
-I buy myself some bright flowers and keep them by my book.

Hope this helps you.

12
Employment / To SM or to PM, That is the Question
« on: Mar 30, 2006, 04:05 pm »
It sounds like you are in a position to set up a sweet gig for your self...here is what I did in a similar situation.

I convinced the company to hire me at 3/4 time at the PM. I did all the PM duties for all the shows, then I SM'd half of the season as a contracted artist.   It ended up being a year round full-time job, I didn't need to keep my 9-5.  As their PM I could set my own hours and had the flexibilty to take some other gigs on the side when I wasn't stage managing for the company.

Best of luck!

13
Maintaining a show is a difficult thing, and, I agree is becoming a lost art in theatre.  

1) In most small regional theaters the director (usally the owner of the company) is almost always on hand to watch over his/her *baby* and is giving notes on the sly.  

2) Econmically, alot of theater's can not afford to run a show longer then 3-4 weeks, unless it is a smash hit money maker beyond the subscriber base audiences.

Show maintenence is not something that is really taught in grad school: the runs of shows are way too short to really need to concern maintenence. We had some discussions about it in stage managment class, but  what I have learned has been on the job from trial and error...lots of error.

In my experience, giving notes and show maintenence is not about age, it is about trust.  If the actors can trust that you always have correct answer and have a complete understanding of what is going on, they will listen and in most cases (the rare diva excluded) take the notes you are giving.   You, as the stage manager, have to make yourself apart of their ensemble. When you hold a show and are calling it, you are an invisible character on the stage with your cast. I have often been the youngest member of an ensemble, but been given ultimate trust because my actors trusted me to make the right calls when scenes needed a tweek because I have been attentive to the entire process. (FYI-it take practice and experience. I really didn't feel confident in my ability to maintain a show until after 5 or 6 years of stage managing and I was lucky enough to work with a director who would point out to me good and bad growth in a show and give me the insight to fix it without violating my authority as stage manager.)

Here is what I do:
1) I write down intentions, emotions, and line readings in my script as well as blocking so I can be aware of the emotional paths as well as the physcal paths of the actor. That way I can give emotional clues to the actors as well as physical cues when they get *lost* in rehearsal.  Actors tend to relate their blocking to the emotional. This also helps establish that I am paying close attention to them, building trust.

2) I always attend the actor's notes sessions and listen to the notes the director gives the actors. This always gives me insight on the types of things the director is looking for and how he/she is tailoring the show

3) I always have a conversation with the director prior to the final dress rehearsal and discuss a formal "handing over" of the show during the finaly notes session.  I ask the director to say "the stage manager is now in charge and any performance notes will now come through her."  This establishes a clear line of authority for the actors. I also let the director know that I would love to get any notes they have about show maintenence throughout the run so I can pass them on.  At this final dress rehearsal, after the directors announcement, I clarify with the actors that I will be giving the notes and taking questions about the show that they may have.  I also set guidelines for notes, for example all notes are given prior to 15 minute call or will be posted by sign in sheet.

4) I also discuss with the director the types of "growth" they want to see as the show settles so I can watch for it and reign it in if the growth happens in the wrong direction.  For example, an actor morphs a funny line into a slapstick moment that pulls focus from the story of scene.  You can always guage an actors growth with the deeper/wider theory.  If the role becomes more meaningful and honest, telling the story, it is growing deeper (good growth). If the role becomes bigger, exaggerated and superficial (ie...playing for the laugh) that is wider (bad growth).

Best of luck!

14
Employment / Interviews with Theatres for Apprenticeships
« on: Mar 30, 2006, 02:46 pm »
Getting the interview is the biggest step. That means your qualifications and experiences are in line with what they are looking for.  The interview itself is about personality. *They* are probalby interviewing at least 5 candidates with similar, equitable qualifications. They are looking for team members whose personality will work with the staff they already have.  Let your true self be evident in the interview. Yes, be professional, but be honest and open as well.  

Here is what I look for when I am interviewing interns:
-Likeablity, Is this person friendly, likeable and personable? Will they get along with my other team members? What is there sense of humor like?
-Honesty, Does this person answer my questions openly and honestly?  Do they make eye contact with me when speaking? Do they shuffle and fidget?
-Confidence, Are they self-assured or will they need alot of hand holding? Is this person overly confident (cocky)?

Be prepared to answer the following types of questions:
-What do you see yourself doing in 5 years?
-Why do you want to work for this organization?
-What excites you about this job?
-Describe how you handle stress? What types of stressful situations have you been in?
-How do you like to work? What are ideal working conditions for you?
-What makes you different from other candidates? (Hint, the answer is not about your job skills.)

Try to find out some information about the people you are interviewing with. Find out their names and Google them.  Also be very observant of the surroundings. If you are interviewing in someones office, notice the pictures/environment and try to assess personal hobbies or activities that you can ask about. This will make your interview more memorable and you will look more interested in your potential collegues then your potential position.

Ask questions about:
past shows, which has been there favorite or least favorite and why
-ask if they did a similar internship in there career and what they learned from it
-the internship/apprenticeship program was started and where past interns are now working
-ask for a tour. Everyone likes to show off their theater and don't be afraid to ask questions about the theatre as you walk through it.

The interview is as much about you getting to know them as it is about them getting to know you.  Show them you are sincerely interested in who they are and what they do. And send an individual thank you note to each person you interviewed with.

Best of luck!

15
College and Graduate Studies / grad schools
« on: Mar 27, 2006, 03:31 pm »
I finished an MFA program in 2005. Here is what I wish I knew...

Exploring Grad schools is a tough thing.  Start on line and search the list of schools and their drama websites. This will give you a good idea of what each program is about.  Look at programs that are in regions you really want to live in for three years and what type of industry is in that area.

Most interview through the URTA's.  At the URTA's you have a brief interview with several differnent recruiters in one shot. The flip side is they are seeing 15 to 100 people during that interview weekend. If there is a program you are particularly interested in, try to apply directly to the program or make contact with the recruiter ahead of time so they know your name ahead of time and send a thank you note after the interview to remind them of who you are.

There are very few programs in the US for stage management and they usually admit 2-3 people per year to each program. In some cases these applicants are directly out of udergrad, but in a lot of instances, they admit people who have a few years professional experience already under their belt.  I recommend you spend a little time in the real world working before going back to the institution.  You will glean so much more from the educational experience if you do (this I speak from experience). Also, really define your career goals.  If you just want to SM, grad school may not be the best route. You may be more successful persuing some year long/seasonal internships/apprenticeships at reputable companies and seeing where that takes you.   If you want to head into education or production management the MFA level education may set you up better for your career.

Also, explore the program's faculty. It is not what you know, but who you know. And to make an informed decision, find out who the faculty is that  you will be in contact with and what professional work they have done. Meaning what connections do they have that you can benefit from: networking.  Also, get to know the other students in the program. Don't be afraid to ask them what sucks about the program. Make sure you plan a time to visit the university and see a production, see a rehearsal and go to a class or two.

Best of luck!

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