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Messages - bex

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Wow, this is a fascinating topic. I've never heard of this practice before! I gather it's common in Canada and Australia, then? Do other events or businesses do this as well, or is it something unique to the arts?

The Hardline / Re: AEA ELECTIONS VOTE!!!!
« on: Apr 30, 2018, 01:47 pm »
I voted already but I wanted to throw in my support for one of my mentors, Roy Gross- a fantastic SM who is also the DC/Baltimore Area Liasion committee chair and is helping lead the "Regions on Council" movement. If you live outside of an office city, Roy wants to have your back on Council.

I've done plenty of shows with barefoot actors. I make sure the TD knows and then do a really good sweep of the deck and backstage, and never had an issue.  Is there a specific reason why you think it wouldn't be safe for someone to be barefoot onstage?

The Green Room / Re: Stage Manager Survey 2017
« on: Nov 03, 2017, 05:04 pm »
I took it! I love seeing the results every time. Thanks for this!

We had a fire alarm go off toward the end of Act 1 of a show I did a few years ago, and one of the most memorable things about it was one of the ASMs walking onstage, taking an actress by the shoulders, and walking her off to evacuate- she hadn't registered what was happening.

I also remember that quite clearly...

Tools of the Trade / Re:
« on: Jul 12, 2017, 11:07 pm »
I worked at a theater that insisted on using Basecamp for basically everything designer-related- draftings, research images, etc. They required the SM team to keep schedules, contact sheets, and script updates on Basecamp as well. I found the interface confusing and unnecessary, since there was also a Dropbox set up by the theater for stage management to use. It was completely redundant- had to have every file in 2 places instead of just one. I had my ASM/intern check it/update it every day as part of her tasks. Every single designer complained about Basecamp to me at least once- I have NO IDEA why this company insists on using it.

The Hardline / Re: Who has worked on/ attended Fringe Festivals
« on: Jun 16, 2017, 07:49 pm »
I have never done a Fringe show, but I was a venue manager for the Capitol Fringe Festival in DC a few years ago- had 9 (I think it was 9, it might have been more?) shows in my venue over the course of the month. 3 hours of tech time, 30 minute load-in and load-out before each show. If you questions I'd be happy to chat.

Introductions / Re: Introductory post
« on: May 26, 2017, 01:16 pm »
Protip for folks who have access to a 2-sided copier that punches holes:
Put the "regular" 1-sided, un-punched script in the document feeder upside down. Set it to print "2 sided -> 2 sided," and 3-hole punched.
VOILA! You have a script punched with the holes on the "wrong" side.

Introductions / Re: Intro post - SM from Washington, DC
« on: May 23, 2017, 05:00 pm »
High 5 DC represent!

Nothing weird about it! Use it whenever!
Honestly I've worked at several theaters where someone says "Oh you have your own headset? Awesome! We don't have enough lightweights for everybody on the crew, so-and-so will be so happy because they always get stuck with the big clunky one."

Quote from: renal

The Sennheiser Air Traffic Control Headset looks awesome, but I was wondering, does it cover both ears, or is it a single ear headset? From the photo on the website linked it appears to be a dual ear headset, but I did a bit more looking and there's another one that only has a single ear headset (which is what I would prefer).

I was also wondering if this headset comes with a mute button, as I couldn't tell from the specifications.

The Sennheiser ATC is a convertible-ear headset- one ear is on a swivel, so it can cover both ears or you can swivel the side opposite the mic up and it becomes the pad of the headband part, if that makes sense? Which actually makes it like 100x more comfortable than the little dinky pad on a regular headset.
I've never used a headset with a mute button on the headset itself, rather than on the belt pack or comm box.

Moderator note: touched up bbcode formatting -KMC

Tools of the Trade / Re: Steel toe boots?
« on: Apr 24, 2017, 11:22 am »
Honestly I think it depends on the type of performances you're working on and the type of SM you are.
Are you working in big events venues with forklifts moving equipment around, or are you working in tiny blackboxes?
And are you going to be picking up carpentry work on the side or is that something you're not interested in?

I've literally never owned a pair of steel-toes and I've never worked on a show where I felt like I needed them, but I also don't work concerts or convention-center type events, and I haven't worked in any kind of scene shop or load-in since college. Your mileage may vary.

The Green Room / Re: Production Haikus
« on: Apr 20, 2017, 03:43 pm »
Problems with your show?
Answer should not be to cause
problems with my show.

Two questions to ask:
1. Are there any sound cues other than the music tracks? If there are, is the music director comfortable being on headset and taking cues from you the same way a regular sound board op would? If the answer to the 2nd part of that is No, then you should reevaluate.

2. Are there other cues that are being called in coordination with the music downbeat? If the answer is Yes, then you have 2 options- the first is to call all of the cues, music included, the way you would with any other show; the second is that you have to be able to see the music director (either in person or via conductor cam) so that you can watch him "conduct" the pressing of the Go button- and he will have to "conduct" it, even if that is only a head nod or something- so that you can time the call of the other cues together.

The Hardline / Re: ARTICLE: 99-seat plan in LA
« on: Feb 22, 2017, 04:22 pm »
It undercuts the whole reason we became union members in the first place.  I know it sounds harsh, but maybe these actors should leave the union if they don't care about a fair wage.  The rest of us can keep working toward one.

This is how I've felt about this from the beginning. If you don't care about working for an actual wage, why are you in a union? There's plenty of companies doing great work and paying peanuts in cities all over the country, but none of them think they should be able to use union actors to do it (or if they do think it, they don't say it).

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