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Topics - gotracigo

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Employment / Right season to send resumes??
« on: Jul 23, 2008, 12:59 am »
Hey, everyone.

As we approach August and summer stocks wind down, I am thinking about sending out some more resumes.  I am just wondering what everyone's input is about the best time of year to send out cold resumes for different genres or projects.  For example, I heard once that you have to apply for cruise ships in May, but have no idea if this is true?  Also, how far out are opera companies and LORT theatre hiring for their seasons.  And is now too early to start sending out resumes for next summer, or will they be tossed?

Maybe the hiring managers on the boards can give input as to when the appropriate timing is...  I just feel like I have been sending resumes out in the wrong season, and companies are already full by the time they receive my information.... (or so they say, lol...)

Any guidance would be much appreciated.

Hi, all.

I had an incident yesterday that I really need to get feedback about.  My stories tend to get a bit long... so grab a snack or something...

I am the replacement SM for a new musical that has been open since May, and is closed for two weeks to make adjustments and put in new leads.  The composer is in residence and some have speculated that he is the major source of funding for the operation.  He is a well known, aging, rockstar; dislikes unions; and there are some serious roadblocks between him and the staging director.

It's a hot mess. But, I feel like the majority of the cast is cool with me, offering kind words both in person and via email.  They seem to be grateful for structure and my commitment to safety, and imply that things have much improved since I’ve been on board.  i. e., they know the schedule, they receive script updates, and we take regular breaks.

Last night he wanted to work this particular scene on its' feet to tweak the vamp up into the song and observe the repeats and lyric adjustments.  We started this at 9:40; rehearsal ends at 10p.  There are 4 AEA actors and myself, and about 20 more non eqs.

At 9:50 I gave him a 10 min warn.  He was super in the zone.  At 9:55, I gave him a 5.  I started sensing agitation from the cast cause he wasn't slowing down at all.. making some major adjustments and wanting to keep going back to repeat the same section over and over again.  At 10p, cast members spoke up and interrupted him saying, "It's 10p."  One woman, in particular, chimes in, (we'll call her *RB for Ridiculous Beast)  She’s right in front of my table bawking about how she has an hour and a half commute and can’t stand this $hit.. blah blah blah.  So I say, okay, thank you.  Acknowledge their desire to end, and RB’s, desire to leave, and decide to enforce the end time.

It’s 10:02p.   At an appropriate break in conversation, I say, “Mr. Composer, I’m sorry but we do need to end now.”  He says, okay… but let’s just do this one more time.”  I allow it, and it’s 10:02p.  Everyone’s ancy.  I say, “Mr. Composer, I apologize, but we do need to end now.  We can start with this moment at the top of tomorrow’s rehearsal.”  He says, “Okay, well, the Equity people can go, but the rest of you need to stay.”  To which I reply, “Mr. Composer, I’m sorry but we do need to release everyone at this time.  We can begin here tomorrow.”  He says, “Well, Traci, this doesn’t involve you.”  I say, “Mr. Composer, I’m sorry, but it does involve me, and we do need to end rehearsal now.”  And he says, “Okay just one more thing…”  He goes on to give a few more notes, then releases everyone.

Done.  Great.  Never raised my voice, remained calm.  Perfect.

I’m walking away from things a few minutes later and the Equity Deputy asks me for a document she’s expecting.  I say, yes, I know where it’s kept, but I don’t know if it’s there.  Give me one second.

Totally casual.  Totally normal.

RB says, “Oh, I know where that is! It’s in the drawer in the blah blah…”  I say, “Yeah, thanks, I got it.  I know where it’s kept, I’m just not sure if her’s is there.”

RB says “Okay, but don’t talk to me that way.”  I said, “I’m sorry?”  RB says “You’re always talking down to us. I’m sick of you being condescending to all of us.”  She’s raising her voice, up in my face, being generally awful.  I said, “I’m sorry you feel that way, and I will gladly discuss it with you when you’re able to discuss it calmly.”

Seriously.  I’m one of those people.  Come and talk to me and tell me your issues, and I will seriously do whatever I need to do to make it better for you.

But, no, she keeps going.  She keeps going on about how I don’t know anything about this show, and who do I think I am?  I talk to them all like they’re stupid… I mean… this just keeps going on.  I keep walking away because I don’t engage in yelling, screaming conflict, as a rule.  But she keeps following me and screaming. So I say, “Look.  I get that you’re upset, and I’ll be happy to talk to you when you are not screaming at me.  If you’re going to keep screaming, I’m ending the conversation.”

RB takes two steps closer, points in my face, and says, “That’s why I f-----g hate you!”  And turns and walks away.

A. Maz. Ing.

I have never experienced anything like that. I mean, I have had some doozies of a confrontation, but never two like this in one evening.  

A few other things to round out my rant.

RB has called earlier this week a couple times and said she’ll be late due to a family emergency.  I’ve always been really understanding, and cool about it; believing we are people first, with families, and health issues, and other jobs, or whatever.  

RB signed on to the first three weeks of the extension and will be gone really soon.  The story I heard is that she was hesitant about being contracted to the extension, and was asked to stay because she has a very strong voice and was needed to compensate for all the new people who were joining the show.

So now, the real clincher.  Today RB isn’t here, and I sent my asm out to call her.  He comes back and has found out from someone else that she has a family emergency again, and DIDN’T CALL TO TELL ME SHE WOULDN’T BE HERE.

I’m mad.  I think she’s being incredibly unprofessional and aside from how I feel about her as an actor, I can’t believe another human has said to my face that they hate me.  I have been at this a while, and generally have a very thick skin, but this might take the cake.

The thing with the composer.  Fine.. whatever.  But does anyone have a similar instance with an actor?  Do you suggest addressing her and dealing with it in a forthcoming way, or ignoring her til she leaves the production in a few weeks.  I am at a loss… It’s a politically complicated environment, and a high stress situation.  I would love some encouragement and feedback.

Stage Management: Other / Roving Maestro Monitors??
« on: Apr 29, 2008, 02:20 pm »
Hi, folks.

I've poked around a bit and can't find anything on this.... 

If one were in a professional opera situation and one was asked to track the roving maestro monitors, what might one create? 

Is it a list or chart of placement throughout the show (ie 142/2/2: Roving monitors in SL2 and SR4)?  Or a monitor plot which involves depicting them on a groundplan and indicating their placement at certain placements in the score?

Any clarification or examples would be greatly appreciated.


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