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Topics - MarcieA

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I have no affiliation with this company, I'm posting this on behalf of a friend:

Astoria Performing Arts Center (APAC), Astoria's premier professional theatre is seeking a Production Stage Manager (Union on non-Union) for its AEA showcase production of a new play IN THE BONES, written by Cody Daigle and directed by Dev Bondarin.

PSM should be organized with strong problem solving abilities and able to maintain the show for the three week run. Stipend pay of $300.

Rehearsals are currently underway (evenings and weekends, Monday off)
Tech: 10/30-11/5
Run: 11/6- 11/22 (Thursday thru Saturday)
For more information about APAC and the production visit: and to apply please send a resume to Production Manager, Annie Jacobs at annie@apacny.or

Hi all,
I'm looking for a PA/Intern for an upcoming production of My Life is a Musical. I've worked on this show as it's been developed for the last two years, and can't wait for this upcoming full production.

My Life is a Musical is seeking a Production Assistant/Stage Management Intern for rehearsals in NYC and performances in Sag Harbor, NY. This is a full- time position beginning June 28 (partial day of prep); rehearsals begin June 30th. Schedule is Monday-Saturday 10a-6p at New 42nd Street Studios. PA would stay with the show through the end of August for tech/run in the Hamptons.

The ideal candidate will have some previous stage management experience, especially in regards to costume/props tracking. Responsibilities include assisting the Stage Management and Directing teams with basic rehearsal tasks as well as maintaining and distributing script changes, and assisting in the creating and maintaining of costume/props tracking paperwork with the ASM.

A small weekly stipend ($100/wk) is available as well as housing in Sag Harbor. Applicant must have NYC housing.

Please send resumes to Marcie Friedman, PSM -

I've honestly never been prouder to be part of the development of a new project as I am this one.

This Monday at (le) Poisson Rouge will be the first full length presentation of this song cycle.

ISLAND SONG: Five New Yorkers are caught in a twisted love affair… with the city. This unique musical anthology takes us through their poignant and hilarious journeys to seize their own potential and the possibilities the city dangles before them. Driven by its kinetic and eclectic score featuring 3 MAC nominated songs, ISLAND SONG captures every urbanite’s triumphs, disappointments, and ever-tested perspective.
Music and Lyrics by Sam Carner and Derek Gregor
Directed by Marlo Hunter

Preston Sadleir (NEXT TO NORMAL; ME, MYSELF & I)
Raena White (DREAMGIRLS at Marriott Lincolnshire)

Tickets are $15:, and 20% of proceeds will be donated to NYC Firefighter Brotherhood Foundation
(le) poisson rouge | 158 Bleecker Street | 212.505.FISH |

About the writers:
Sam Carner and Derek Gregor’s musical UNLOCK’D won a Richard Rodgers Award and went on to be produced at NYMF 2007, where it won the “Best of the Fest” audience award and Talkin’ Broadway Citations for “Outstanding New Musical” and “Outstanding Original Theatrical Score.” UNLOCK’D went on to workshops at Theatre Works, Palo Alto and the Ravinia Festival and will premiere Off-Broadway next summer with the Prospect Theatre Company at the Duke on 42nd St. Other projects in development include their children’s musicals THE GREAT COOKIE QUEST (book by Jim Weitzer) and their short LOVE, SPLAT, which is slated for production in TheatreWorks USA’s THE TEACHER FROM THE BLACK LAGOON. Their musical anthology ISLAND SONG has been workshopped at Princeton University and Western Carolina Unviersity. Sam and Derek’s songs are performed frequently in cabarets and concerts around the world, and three numbers from Island Song have been nominated for MAC Awards (“After Hours” and “Make It Here” for Best Song and “Sing, But Don’t Tell” for Best Special Musical Material. They have also presented a number of concerts of their songs, including Sing, But Don’t Tell at NYMF 2009 and Buzzed, a 2010 concert with 12 cast members from the Broadway cast of HAIR.

To see clips of previously performed songs from this piece (I HIGHLY recommend NY Do You Care and CBT, and well, everything!) go here:

And our promo video:

A high school director friend of mine is going to be working on a production of White Christmas this year, and I was wondering if anyone here had a scene breakdown that they might be willing to share?

They won't get scripts for another 6 weeks, and she was hoping to get a jump on breaking down the basics of a rehearsal schedule.


Edit to subject line-Rebbe

Has anyone been asked to either give your prompt book over to a potential replacement actor (I only have 1 script for blocking and cues) OR been asked to turn over all paperwork regarding running the show to the producers mid-run?
I've never been asked either of these things until this weekend, and both concern me, though for different reasons.

Edit to subject-Rebbe

The Hardline / Rolling Over
« on: Feb 16, 2011, 03:37 pm »
I'm curious if anyone in NYC has worked on a show that has rolled over from a showcase to a Mini?

The show I'm currently working on may be doing that, but I have some reservations about staying on. I do not however have reservations about needed the 3 weeks of health and pension for my 20 weeks, so I'm torn.

A bit of background:

I'm helping a friend out with a show (an AEA Basic Showcase) with a very low budget and very minimal design team. Actually, there is only a set and lighting designer. It's a unit set, with no scene changes at all. Two of the actors are also producers and because of the structure of the play, they are called to every rehearsal. So far, after 9 rehearsals, the only purpose that the rehearsal report has served is to distribute a recap of the daily schedule to the two members of the distribution who are not in rehearsal (the lighting and set designer). I keep track of actor arrivals/departures/breaks on a separate sheet that stays with my book, and that information is repeated daily in the report. There have been no technical notes whatsoever.

According to the showcase code (Rule 10 B): (B) Assemble and maintain the promptbook, which is defined as the accurate playing text of stage business, together with such cue sheets, plots, and daily records, as are necessary for the actual technical and artistic operation of the production.

...which I do keep. There is no special mention of distributing a rehearsal account or report. I don't want to make a blanket statement and say that me doing rehearsal reports are a waste of my time, but so far I'm just sending blank reports with the actor's arrival info, etc. and that's it.

So I was wondering, has anyone ever been in a situation where distributing a daily report didn't seem like a necessity? Have you ever worked on a production where you did not send a daily report?

Just curious if anyone has done (or currently uses) a sign in sheet for rehearsals?

I have never used one but an actor brought it up today, so I thought I'd see who might.

Added tag to subject line-Rebbe

The Hardline / Actors Federal Credit Union
« on: Jun 15, 2009, 01:02 pm »
Does anyone have an AFCU account? Likes? Dislikes?

I currently have a Wachovia account, the same one I opened when I was 15, but where I work and where I live in NYC are not really near a Wachovia, so I find myself going out of my way or paying a lot of fees.

Someone suggested Chase, but I thought I get some other opinions as well.

The Hardline / TYA Questions to Ask
« on: Jun 15, 2009, 10:28 am »
There's been some talk of TYA lately, and I actually have an interview coming up for a TYA tour so I thought I'd run some thoughts by you TYA folks here, as I have touring experience but absolutely no TYA experience.

I'm wondering what the biggest surprises were for you on tour as far as responsibilities or job expectation went.

Is there anything in this interview that I should be prepared to ask about that you know now that you didn't know then?

As far as touring goes - for anyone who's done another type of tour in addition to TYA, what are the major differences, if any? Is there anything in the contract/rider that I should be on the lookout for in either a good way or a bad way?

Any insight would be greatly appreciated!

The Hardline / Director Giving Notes
« on: May 30, 2009, 02:11 am »
So, an awkward situation:

I recently took over a show (on an LOA) and tonight the director was there. At intermission she said to me that she had 1 or 2 actor notes that she'd email me, and that's fine.

Well. Apparently, before I was able to get backstage after the show she went back to say goodnight and decided to give these 3 notes to the actors. I was in the dressing room for the tail end of one of the notes and while it wasn't mean or harsh in it's delivery, the actress was VERY upset.

While I was shutting down for the night another actress came up to me and basically yelled at me saying "It's your show and she is not permitted to give notes under any circumstance, it's in the rulebook, and we don't ever want her in the dressing room again."

Now, I worked under a LORT D contract for 4 years (though not for the last 3, but we are using the LORT rulebook) and it was always my understanding that if an actor asked for it, or a director prefaced a conversation with something along the lines of "Can I give you a note about X?" and the actor consented that this was permitted, and the only thing that wasn't permitted regarding notes was the posting of individual actor notes on a public space (ie the callboard). I very calmly explained my understanding of just this to the actor that raised the issue (not the actor who was upset) and they disagree.

My personal take on the situation is that the note was not necessarily appropriate because the show has been running the same way for 3 weeks before me (though as someone who was not a part of the rehearsal process I agree with the observation, but this isn't my artistic vision, I wasn't a part of this character's development in rehearsal and as such I would never ever voice this opinion), and her giving it 5 minutes after a show wasn't the most considerate thing to do, but I also think that this particular actress took an observation very, very personally. I do also acknowledge that this actress is well within her rights as an actor and a person to feel however she wanted.

I've looked through the rulebook, but where does it say that a director is 100% not permitted to give notes after opening? If they don't want her to come backstage before (well before 1/2 hour...I've never had a cast that arrives this early) or after the show, I feel that they are well within their rights to make that request (though the director has done this before I was there with no problems) but I can't find a rule that says she can't offer notes.

SMNetwork Archives / Just neet to vent...
« on: Nov 17, 2008, 07:00 pm »
I'm sure I'm not the only one to have to deal with this, but it's the first time it's happened to me and I am sad, angry, disappointed, etc:

I was asked by a friend to ASM an off-Bway show with her as the SM. I was excited, she was excited. There was excitement.

I spoke with my superiors at my day job about this, and they were willing to keep me on salary (!!!) if I could commit to 1 weekday in the office and 2 evenings after rehearsal. Amazing. It turns out that the director wants a Sunday's off schedule for rehearsal, which would mean that the Monday I would plan on coming into the office is now a missed day of rehearsal. (Not to mention conflicts with actors going to auditions, etc.) The SM pleaded her case, and mine. She finally got the director to agree that one day a week was ok since he wasn't going to change the day off, as long as my friend, the SM was ok with this. Which she was.

Cut to today: My friend emails me saying that at the pre-pro meeting today, the PRODUCERS decided that despite the director and the sm's support, it was entirely necessary for the ASM to be at every rehearsal. This was not a money issue. I actually offered to take a 1/6 pay cut or find a replacement for those 3 days.

ARGH. I'm just so ANGRY. I've worked very had this past year to make some headway and finally I am beginning to, and then this. The most annoying thing is that the contract doesn't pay enough to just take a leave of absence from my day job, and having just spent a lot of money moving (I had no furniture coming to NY) I can't afford to not have the income.

I think what bothers me the most is that my day job, which has absolutely nothing do to with theatre was willing to give me 4 days a week off to pursue this opportunity, and the theatre company wasn't willing to give me 1.


End rant.

Employment / I've offered the job but no response?
« on: Aug 13, 2008, 10:05 am »
A little bit different than the normal 'how long to do you wait question'.

I offered a position to someone and haven't heard back from them in 48 hours. In the interim, I received a resume from another candidate who is equally as promising, if not more so (and Union, which is important to the director).

Is is improper to offer this person the position instead? I need to fill the position ASAP, by the end of this week if possible.

Also- applicant #1 was applying for an ASM spot, but I offered the SM spot. Both I and her references believe that she is more than capable. She is non union. (It's a showcase). Applicant #2 applied specifically for the SM position and is AEA.

The Hardline / Possibly Stupid NYMF Question
« on: Aug 08, 2008, 01:54 pm »
Small NYMF crisis impending, and I'm trying to do everything in my power to prevent it...and move out of my apt at the same time. UGH.Small NYMF crisis impending, and I'm trying to do everything in my power to prevent it...and move out of my apt at the same time. UGH.

I know that for a regular showcase you do not need an AEA stage management team. Is this true with NYMF as well? I'm in the rulebook and it just says that you need an SM and ASM, and I don't know if the union requirement is implied b/c it's an AEA rulebook or if it just means that the production needs one of each.

Tools of the Trade / What's in your bag?
« on: Jul 15, 2008, 12:29 pm »
There's a lot of talk about what in your kit, and by extension, what would be in your ideal kit, but I'm gearing this question to the other city-dwelling freelancers like myself:

What do you think it is most important to have with you on a day-to-day rehearsal space basis? Sometimes it is less than ideal to travel to a day/temp job with your complete kit and then not be able to leave it (or props for that matter) in a rental rehearsal venue - and often times, where that is changes from day to day.

So I ask out of curiosity, what is most important for you to have with you?

I know my answer...

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