Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - megf

Pages: 1 [2] 3 4 ... 14
16
Employment / Re: Dear Abby: Is there life after Equity?
« on: Oct 30, 2016, 07:02 pm »
It can't hurt to go on informational interviews, with people in your immediate network or people a couple steps removed. Coffee with a current or former SM who lives in this southeast market might yield some surprising tips. By the same token, if you have a network of any kind in this area, quick phone calls or in-person chats with people you know might help, even if they have no obvious, direct connection to theater or the arts at all. If these folks have lived in the area a long time, it is likely that they will have AMAZING personal networks. One of the best things my husband did when he was changing careers was talk to an uncle with whom he had never, ever discussed career matters. Two days later, he had a phone number, and the resulting call led to some well-paid gigs and skills training.

Also, looking at the other responses... maximillionx's response reminded me of a recent interview experience. During the second round of interviews for a job, the person guiding the conversation said "So, other than being organized and responsive to deadlines, what are you really great at?" And... I was flabbergasted. So much of what SMs tend to cultivate, especially early in our careers, can be boiled down to just that: organized and responsive to deadlines. It's worth brainstorming a compelling response to this, if you haven't already!

17
The Hardline / Re: Name change?
« on: Oct 04, 2016, 08:06 pm »
I've seen name changes handled, second hand, in a few ways. At the end of the day, it's what feels right to you. (I didn't change my name, obviously, but for a bunch of other reasons.)

Will it bother you to have a different last name on your mail than on the lobby board?

Will it feel weird to have a resume that doesn't exactly match your pay stubs?

18
Do actual performance numbers in reports. If it makes you feel better, reissue the calendar with adjusted numbers. It sucks that this happened so early in the run, but that's the magic of live theatre :)

Have you checked in with house management? The production manager may not care what the decision is, but if there is a separate house management report, you probably want to make sure you align with them.

19
You did not make a mistake. Keep reminding yourself of that.

It sounds like you selected a school that is heavily focused on production--so presumably, you imagined a career doing shows after the degree. And fabulously, you have already made the switch into the professional sphere, without suffering the bad fit at your former school.

This is an important part of freelance life, which can only be learned in the field: there will be periods where you do not work. You will wonder, every time, if the last show was your LAST show. Until and unless you make the decision to leave the field, however, there will be a next show. Maybe next week... or next year. Finding meaningful (or even just sustainable and sustaining) sideline work should be somewhere in your top 10 priorities, since you have downtime. But under no circumstances should you allow a toxic school environment any more headspace, now that you've made the plunge into the work you wanted to do anyway!

If you feel that completing a university degree is important, do it. But please, do not return to a place where personal and professional boundaries are so blurry. If a professor had given me exercise advice, I would have been livid.


20
The Hardline / Re: AEA SM wearing a costume backstage?
« on: Sep 02, 2016, 01:24 pm »
I've had costume pieces to help with sightline issues -- a hat, gloves, etc.

Some companies have a protocol of all personnel on deck (carps, props, ASMs, etc) wearing Dickies jumpsuits. When I worked in this context, there was a great big rack of jumpsuits, and on the first day of dress rehearsals all the deck folks would grab the one that fit best, slap a label in it, and they would be laundered weekly or as needed. It was great -- backstage tended to be chilly, and the jumpsuits had ample pockets and belt loops for tools and other small items.

My biggest worry when costumed deck personnel came up was always safe, comfortable footwear. I can do nearly anything in a dress, or pants, or whatever getup... but I take my shoes very seriously.

21
The Green Room / Re: Birth Order
« on: Aug 17, 2016, 12:09 pm »
What is most striking to my eye -- which Kay and Erin hit on, as well -- is that an overwhelming majority of respondents have siblings. Where we fit re: birth order is also interesting, but... Siblinghood is something I have noticed in other parts of theater, performing arts in general, and arts/culture-related jobs. In my graduate program, we realized that in a cohort of around 30-40 students, all but 5 had siblings. One of the first responses to this data was "Oh, of course -- because you always had to share resources!"

Yeah? Nay? I'd love to hear your thoughts.


22
The Hardline / Re: Calling a show for heat
« on: Aug 13, 2016, 08:20 pm »
I suspect this falls in the same bucket as snow cancellations. Those choices are subject to local laws and procedures, and rulebooks can't really supersede those laws (e.g., are school buses canceled for the whole county? Yeah, you'll probably cancel that 10am matinee). Talk to your General Manager about what the practice is, in the city or town where the show is taking place.

Also, since I notice in your forum profile that you're with a company in the northeast -- it might be prudent to inquire about air quality issues. Heat is one thing, but air quality warnings that last more than two days (like... now) can be particularly scary for folks who are have (chronic or other) respiratory conditions.

23
The Green Room / Re: Check your emergency procedures
« on: Jul 05, 2016, 07:38 pm »
BobM, I am so very sorry for your loss. Thank you for sharing this with the SMNetwork community. How fortunate that your beloved colleague was found, and attended to, by kind, caring, skilled people who knew him -- and especially, by people who treasure his memory and contributions.

24
Employment / Re: How far are you willing to travel?
« on: Jun 24, 2016, 08:19 am »
In LA, up to 2 hours, covering 26 miles. Spent 2 months doing this. Hard to say which was more frustrating, between the drive and the daily battle for parking.

In NYC, up to 2 hours, covering about 14 miles, including 1 mile of walking (through a park). My Kindle did a lot of work during this 5-week gig.

In Connecticut, up to 1 hour 15 minutes for 72 miles, mostly along the Merritt Parkway. Barring extreme winter weather, the Merritt is one of my favorite drives. I've been doing this for 2 months and will continue for at another 6. While it's a lot of miles, most of them happen at highway speed. Because of the company's daily start/end times, I only experience rush hour congestion for about 7-8 miles, immediately after I leave the office.

25
I'll echo maximillionx. Scenic engineering, safety, building concepts, and vocabulary are invaluable. Yes, props knowledge is helpful. Lighting knowledge is helpful. Audio engineering, costume construction, etc. are all helpful. But scenic design and construction, categorically, tends to be where the biggest, most costly issues arise. Creating and reading the build plans will build your scenic literacy, and that will inform how you prep and run your next show as a SM.

26
I have reported situations comparable to this, on my own behalf and on behalf of coworkers and fellow students. Tempest, you really hit the nail on the head: the "fog" you refer to is real, and forms over time in such a way that clawing it back can take a long, long time. Just articulating the problem can be confusing. Often, there is no obvious turning point where a person's behavior switches from "normal" to abusive.

The first response I had to this article is "that's why there are labor unions!" But abuse can (and does) happen in union houses, and while stage managers are frequently the first link in the chain of reporting, we are only sometimes involved the long-term institutional response -- if there is one.

Speaking up does not guarantee change. Sometimes, the best choice is to vote with your feet.

I applaud the Chicago community for their response to this wrenching article and the petitions. Hopefully, #NotInOurHouse will become a template for theatre communities elsewhere -- a working statement of values and commitment, that goes beyond a labor agreement.

27
Matt's points are strong. I would add that, since both you and the boss departed from the black-and-white language of the contract in subsequent verbal agreements, neither of you clearly have the moral high ground. A verbal agreement is legally defensible for a number of years, depending on your state/county... while a written contract is more robust.

The next time you sign a contract, make sure it reflects exactly what you believe will happen. There is nothing wrong with contacting a future employer, to say "Hey, I reviewed the contract you sent over, and based on our chat on ABC date, items XYZ should say this: etc., etc. Do you agree? Can you send me a contract with those changes?"

It sounds like your market is small, so the character assassination this guy has threatened might have real consequences. Were I in your shoes, I would bite the bullet, and end this interaction as quickly and politely as possible. If the topic comes up in the future, make it clear that the fault was shared equally, a resolution was reached, and the subject is closed. And if you should ever choose to work for this person again, triple-check the fine print, and do not sign unless the contract is rock solid. Personally, if a former employer told me he was lowering my compensation because I was an "awful negotiator," I would shut that door permanently.

Good luck!

28
The Green Room / Re: Balancing Theater Work and Having a Life
« on: May 02, 2016, 08:58 pm »
There are a lot of ways to keep in touch. Some of them will work, always. Others will work for a time, and then you'll find yourself feeling isolated again -- so the evaluation/test process pretty much never stops.

Facebook is a great tool. Private groups are especially good, if you have a circle of people you want to connect with, but can't find common social time.

If your location is indeed UCSC, I grew up not far from where you spend a lot of time. It's beautiful... but in addition to the hours in the theater (when friends and family are free), it's likely you also spend a good chunk of time in the car. That's a tough one, but not insurmountable. When I've had a reliable commute in a place where it's legal to use a hands-free set with a cell phone, I've gotten into the habit of making calls during the drive. Sure, it's not the most relaxing option -- but hearing Mom's news from work, or chatting about my niece, etc. is a wonderful way to catch up with the family while doing something productive.

If you're looking for social time to go out with non-industry friends, that's what funemployment is all about :-)

29
I'll jump on the bandwagon: take the paid gig. Not because it will be wildly lucrative, or let you to take the media class, or because it's a different type of show than you usually do. Take it because your time is valuable.

If you pursue a stage management career after college, or any other career in arts management/leadership, justifying the value of your time will be part of every interview, negotiation, grant application or annual review. The sooner you begin practicing this type of advocacy for yourself, the more fluent you will be when the stakes are higher.

30
Tools of the Trade / Re: Stage Management Software
« on: Mar 09, 2016, 01:00 pm »
Mac makes an excellent point. The software business has a colorful history of boom-and-bust cycles, and stage management software is unlikely be an exception to this pattern. I'd advocate a Plan B, as well as careful reading of the terms of use, transfer, etc. before committing money to any software package.

KMC's original question is interesting, however. I would be interested to see this survey broken out in a few ways. Institutional purchasers (like production managers, resident PSMs, resident ADs) might be more inclined to purchase, since it's not personal income they'd be spending. By the same token, students might be more inclined to buy, since a new software package could be tested and integrated into a school environment under the rationale of learning new methods -- again, without dipping into a student's person income. I would *expect* the group least likely to purchase is middle income freelancers. This group doesn't benefit from an institutional "professional development" fund. Their top priority is staying employed, and that often means adjusting their methods to the employer and team of the moment. Would this subset of SMs purchase this software?

Pages: 1 [2] 3 4 ... 14
riotous