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Topics - prizm

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The Hardline / assigning Dance Captain
« on: Aug 01, 2014, 02:24 am »
OK I've been at this a while and am lost. My producer contacted me today after reading in the report who was assigned Dance Captain by Choreographer. She is honestly the best suited out of the cast but is EMC and not equity yet. The producer thinks the position has to go to an Equity member, I know I have done several shows where the DC or a Fight Captain was non union to save money.
In this case I think the choice was made because she was the best choice and not to save money, obviously the producer wants to have a union member.
The language in the contract says there has to be one, it never says they have to be union.
does anyone know the rule here? Ive already sent the question out to my rep but she is out of town for 5 days and I would like to avoid embarrassment for this girl if I have to take the gig away from her.

Contract is SPT by the way.

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The Hardline / Deputy on a One Man Show
« on: Apr 14, 2009, 02:41 pm »
Ok before I call equity about this I wanted to hear from others, because I wants this to be a non-issue if possible. I am doing a one Man show  SPT10 (so there is only one actor and me). He has flat out refused to be deputy. I feel the deputy in a one man show is no big deal. Its just the two of us so he should come to me with issues. Am  I wrong? Does he have to be deputy? Do I have to to the deputy paperwork or can I just let that go?

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The Hardline / Can they be Deputy?
« on: Nov 16, 2006, 07:39 pm »
Ok I am about to start rehersal on a show on the CORST contract and I have an intersting situation. The company has meet its AEA minimum but besides myself the AEA compant consists of one outside actor, the production manager, the company manager, the artistic director the bisnuess manager, the assistant TD, the costume designer... well you see where I am going with this. cna someone on the producing side of the show be Deputy? They are actors during rehearsal but still represent management. Or does the one outside actor have to be Deputy? This is about the oddest thing to walk into on ones first day of prep. well let me know if you have any words of wisdom

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The Hardline / Is Canada another country?
« on: Oct 26, 2006, 12:42 am »
OK I know that Canada is another country but I am wondering if anyone has had union experience dealing with a show that performs in another country. I am AEA and was offred a contract on a show that is performing in Canada and from all the conversations I had the union was never mentioned, contracts ect. Now this case may be diffrent because it is rehearsing in NYC and performing in Canada but I have head so may diffrent takes on this I was just being curious. I have heard that there is a special relationship with Canadian Equity but I am not aware if this is true or not. Let me know what you know.
On a side note I didnt take the gig because of other reasons so this is truly a curosity since I would like to work with this company in the future.

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Employment / PA work in NYC
« on: Jun 14, 2006, 03:34 am »
Ok I am moving back to the city (New York that is) after completing my MFA. I wm really interested in working as a PA for some of the larger theatres/production companies around town to get some more experience with production contract and large shows ect... However, I donít even know how to begin pursuing this path. I know how to get SM work and where to find those postings, but PA's I have never seen that listed anywhere. Do you just send resumes to production companies or PSM's? Where do I begin I have searched this forum and havenít seen anything about the position except in regional theatre, which is where I have been working for the past 2 years. Though I wouldnít know how to get a PA gig in Regional theatre if it weren't through a University anyway.

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Employment / ? for those who hire
« on: May 22, 2006, 08:05 pm »
OK so Ive was a member of Equity for about 5 years then went to grad school for myself. It was attached to a large LORT theatre (I went on waiver) so I essentially filled the roll of the ASM on over half of the seasons productions though I was listed in the program as PA. SO my question is I want to include my credits because so many of the directors I worked with are big in the Regional world, but does anyone who hires relizee that a PA is an ASM on waiver? Should I include something or just leave the credits off?

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Employment / how long do you wait for a response?
« on: May 08, 2006, 07:05 pm »
I have sent out several applications for work and havent been hearing much except from people who do not want to pay enough for me to live in their citys.
I have several contacts also helping at specific theatres. Many of those contacts have said things like it looks good or I think you have it, but the theatre itself has not contacted me personally. How long do you normally have to wait to hear something?
When I lived in NYC I heard back sometimes the same day but never more then 2 weeks, but I am now competing for much larger jobs and much longer contracts in regional theatre. Is there a diffrence?

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Employment / moving to the other city PHL
« on: Mar 19, 2006, 03:10 am »
Ok so I am looking into moving to Philadelphia in late August. I am hoping to move in order to be closer to family as we all get older I realize I should be spending more time with them and that's hard to do from halfway across the country. I have Regional, NYC and Touring experience. But I am finding the market hard to break. I keep on looking on Theatre Alliance but see nothing I can take. Does anyone out there have any hints? Are there job listings somewhere I'm not looking or is the community that close?

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My theatres com system is in the process of a complete and long overdue overhaull. We had a meeting with the people hired do do the changes so that the system could be taylored to the stage management staff and our needs when calling a show. Which I feel is a very nice of them to do.
That being said several of the ideas they mentioned seem ridicolous to me.
They want to replace our current pendants with a touch screen meaning that all our buttons, cue lights and paging would be on a flatscreen. We as a group hated the idea and insisted that the cue lights remain on toggles. and comprimised on the rest saying that the other buttons could be on "softkeys" with leds to indicate on or off.
Am I too old fashioned? has anyone ever tried this? I just feel that it would be hard to watch the stage and a computer screen at the same time.

On the good side the old wired/wireless system will now be all wireless on both our stages with low profile ear headsets allowing our ops to keep them on during shifits and the god mic and backstage paging will be put on buttons to allow us to use them via our headset mic, which will be great.
So really what do you guys feel about the idea of touch screens and loss of those big light up buttons that let you "feel" what your doing? Is this were we are heading and I should just learn ?

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OK so Im in my prep week for a production of Treasure Island and of course our Long John Silver is going to have a peg leg. I have talked extensivly with director and designer and they explain the sctor will have his real leg strapped up and a peg attached to his knee. I have many concers all of ahich I have broched with the approite people. So much so that I now have an evtire mock up of the set being built for rehearsals (the show is on a rake and has lots of stairs). I have talked to the PM about weekly medical exams (though I have no idea what he might need in that area I just know there will be blood loss if his leg is strapped up). and I have insisted he start using the leg with first rehearsal ( I have scheduled him for a fitting firday before to have the leg fit thank god for rep)
I guess my question is has anyone worked with a peg leg before. What are the things I should know about working with them. What should I have on hand that he might need (a heating pad to incourage blood flow when we are on break maybe)
What are other saftey concerns I should address?
Im not worried about it working I am assured that they have done this before.
I just want some feedback on others experiences.
the things this job leads to, never in my life did I think I would put on a daily schedule xyz actor 12-12:30 leg fitting
ahhh theatre

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OK so Ive been out there a while doing my thing and Ive always kida been the only one. I am not working at a LORT theatre which has belive it or not a Stage Managment Staff, people with whom I can share and commiserate. One of the catches with this situation is we end up ASMing each other. So I have had the oppertunity to see their books and now I wonder am I the oddball or them. I have only been here a few months so Im still settling but I have see the book of everyone on staff now and They All have ther books set up with text on the left side and blocking pages on the right. I can see how this would help with blocking but for cueing I think it would totally mess with my head. I asked they said there was no Company standars its just what they do. So I wanted to see what the you guys do.
text left or right?

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Stage Management: Plays & Musicals / PEOPLE: Scary Directors
« on: Aug 11, 2005, 06:26 am »
Well I am curently working on my MFAand am serving as a PA (ASM to anyone but the Union) for a large Regional Theatre. I am having a blast and working harder than ever in my life. But that is not my question. I have just been giving my assingments for next season and one of them could hypothetically be working as ASM.. oh i mean PA for a show directed by Anne Bogart. Now I have studied her work in several classes and while it seems like its going to be a great oppertunity, her concepts on managment and tech scare me. I dont know if I could ever live up to those kind of standards. Does anyone know how she is for real ?

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