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Messages - BeccaTheSM

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Employment / Re: Websites part deux
« on: Aug 10, 2017, 04:34 pm »
The thread is old, but the website is new! I've just done a sizeable overhaul to my website. Notes appreciated!

Employment / Re: Jobs Between Contracts
« on: Aug 10, 2017, 04:30 pm »
I'm not sure where you're based, but in NYC many people in theater (actors, directors, stage managers and more) have multiple jobs they can use to support themselves (and our ridiculously high rents) in between theatrical jobs. Here are a few of mine, and how I counteract the "they won't hire me because I might disappear" issue:

Babysitting: I don't work for one single family full- or part-time. I work via a number of babysitting apps, and most of my clients are either in need of one-time care, or infrequent care -- many times it's a stay-at-home mom who is looking to do errands or go to a doctor's appointment without the kids in tow. I have a handful of repeat families, but no one is SOL if I'm not available because I have rehearsal or a show. I'm also very upfront about that when I begin a relationship with a family.

Dog walking / pet sitting: Dog walking follows pretty much the same method as babysitting. I work via an app, so I can accept walks that work for my schedule, and I can not accept walks that don't. For pet sitting (especially if I am asked to apartment sit for the duration), it's very easy. I can most likely still do a theater gig while living in someone else's apartment and walking the dog or feeding cats. But if I can't, then the pet owner will certainly have another person available.

Event work: I was lucky enough to be hired by an event planner (weddings, bar/bat mitzvahs, etc). I can work in the office doing prep for various events when I have time, but she doesn't depend on my presence, so I'm able to work or not work as needed - I even have done some paperwork for her remotely on a day off while I'm working out of town. I also work as an on-site manager during events. She'll ask me if I'm available for a handful of dates and will take me when I'm available, and move on to one of her other assistants if I'm not.

Website building: This isn't by any means a steady gig, but I've been hired to build a few websites for people. I make sure that when I plan out the timeline with them, I take into account any other time commitments that would detract from my time working on the site.

Computer help: My event planning boss is not great with computers or technology in general. And neither are a lot of her friends. She has recommended me to many of her friends for help with technology, paid hourly. I've transferred files to external hard drives, obtained lost WIFI passwords, set up new iPhones, taught one woman how to sync her iPhone, and more. I am able to arrange these meetings to be scheduled around my other commitments.

Online: I recently joined UpWork, and have done a few jobs found through their listings where I've done transcriptions from audio files. There are a wide range of types of jobs on there, including Remote Assistants, and other things that don't interest me. But it's good to know that it's there.

That's how I keep myself afloat between productions. And how I've avoided ever working in retail or a restaurant.

The Hardline / Re: Who has worked on/ attended Fringe Festivals
« on: Jun 29, 2017, 07:01 pm »
I've worked on five NYMF (New York Music Theatre Festival) shows in the last seven years. I'd be happy to answer any questions.

Stage Management: Other / Paging Calls in Opera
« on: May 24, 2017, 03:39 pm »
Hi guys! I've been SMing operas for a while, and I wanted to see what format others use when they page performers to the stage, mostly out of curiosity, since I developed my format on-the-job. Do you include character names in the call, or just the performer's name (as Mr. or Ms. Smith)? What about a children's chorus? What about a few selected children from the children's chorus? Do you call them to the specific side of the stage or merely "to the stage"?

Thanks in advance for everyone's two cents!

The Hardline / Re: To Off-Broadway or not...
« on: Aug 11, 2015, 10:52 am »
Thanks, everyone. I've never been caught up in the fairy tale - I've always felt it was disingenuous. I'm glad that I haven't been vehemently believing something that was misled.

Thanks for confirming for me!

The Hardline / Re: To Off-Broadway or not...
« on: Aug 10, 2015, 10:29 am »
Thanks, Matthew.

To clarify, I am looking for what you can claim as Off-Broadway on your resume. To me, the contract is what counts. If I did a NYMF show or a Fringe show at a theatre which commonly houses Off-Broadway contracts, that doesn't mean my show instantly gets Off-Broadway status.

The impetus for my post is that I've had several job offers lately for Showcase Code productions at Off-Broadway venues where the offer email has said "it's low budget, but it's a solid Off-Broadway credit for your resume."

The Hardline / To Off-Broadway or not...
« on: Aug 10, 2015, 09:55 am »
Hi folks,

I've been developing a pet peeve lately, but I wanted to check in here to see if I'm the only one.

What determines if a production is an Off-Broadway production? Is it the theatre or is it the contract?

I've done a few Showcase Codes at theatres that are Off-Broadway locations (59E59, The Duke, etc.). Do those shows actually count as Off-Broadway credits on my resume? I feel like it's false advertising.

What do you all think?

Tools of the Trade / Re: Laminators
« on: Aug 20, 2014, 06:16 pm »
It's also great for signage on tour. You can tape it to walls, thumbtack it to a callboard, etc. and then you can take it with you when you leave the venue and move to the next.

And yes, your own screw-ups count as being worth mention. It means you saw them, you acknowledged them, and you have fixed them. And that you are human. And honest. And are capable of having a sense of humor and moving on with things, not getting stuck.

The ability and WILLINGNESS to take fault when it is your fault is a respectable skill. It's not enough that you only report your needs from departments. You have to document the way the show happened that night. As others said, it's about finding a matter-of-fact way to note what happened without blaming or chastising anyone, and to take note of how it was solved in the moment and the steps to prevent in the future.

Tools of the Trade / Re: Who builds your Qlab file, and how?
« on: Apr 14, 2014, 04:41 pm »
I do a lot with Qlab for sound and projections. But I've never connected the light cues into the same file. How does one accomplish this?

Kay, thank you for this!! It will be interesting to see who makes personal decisions to let this information derail them or to try harder to be among the top tier.

The Hardline / Re: IATSE
« on: Mar 21, 2013, 06:41 pm »
Well, it's good to know that the reason I feel like it's different everywhere I go is because it is! At least I'm not totally crazy!

The Hardline / IATSE
« on: Mar 21, 2013, 02:05 pm »
Where can one find information on IA rules/regs?

The Green Room / Re: The things we give up for theatre
« on: Feb 03, 2013, 03:42 pm »
I've had to miss out on a lot of birthday celebrations, Thanksgivings, Christmases, other holidays, and more.

Uploaded Forms / Re: !! - Request Forms Here - !!
« on: Jan 29, 2013, 08:48 pm »
KatieH - here is a blank of my iPhone/Android/semi-smart-phone friendly rehearsal report and performance report. Second perk is that it is easily adjustable to add/remove different departments that do/not apply to a particular production.

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