31
Introductions / Re: A Quick Hello
« on: Feb 08, 2018, 11:05 pm »
Welcome to town! I got your private message, too, and just sent you an email.
Erin
Erin
News:
14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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32
Introductions / Re: Greeting from on the road
« on: Jan 30, 2018, 01:32 am »
Hi there!
I tried to do a quick search on the theatre's website. Do you have a list of where you're touring? There might be others on here who want to meet you for a cup of coffee or adult beverage, etc., should you be passing through.
Erin
I tried to do a quick search on the theatre's website. Do you have a list of where you're touring? There might be others on here who want to meet you for a cup of coffee or adult beverage, etc., should you be passing through.
Erin
33
Students and Novice Stage Managers / Re: Rehearsal Report Format
« on: Jan 07, 2018, 08:08 pm »
I tend to ask those receiving the report the first time around and see what responses I get. My general is to embed the report in the email for ease of reading and responding...and also attach as PDF. Occasionally, I'll just end up with only the embedded text on some of my smaller shows. I've never (purposefully!) attached a document they can easily edit.
Erin
Erin
34
Introductions / Re: I fell into Stage Managing... Help!
« on: Jan 07, 2018, 02:58 pm »
Welcome! Though I do have to laugh when you said you were too busy to act, so you're going to stage manage...
This website is still my absolute favorite source for stage management. Poke around and do searches for everything you have a question about. There are whole threads/conversations for just about anything. The big thing I think is to know that you'll be writing a lot of stuff in your script. Copy it single-sided, with wide margins if you can, and before you hole-punch it, think about your plan. I'm right-handed, so I actually put my script on the left side of the binder, and have the entire right-hand side to make all my notes. Usually I'll put a number within the script on the left, then a corresponding number on the right side with the "what" of the blocking. Since it's community theatre, I don't know how much you'll be able to get a groundplan, but that's also helpful to have on the top of every blocking page.
Best of luck,
Erin
This website is still my absolute favorite source for stage management. Poke around and do searches for everything you have a question about. There are whole threads/conversations for just about anything. The big thing I think is to know that you'll be writing a lot of stuff in your script. Copy it single-sided, with wide margins if you can, and before you hole-punch it, think about your plan. I'm right-handed, so I actually put my script on the left side of the binder, and have the entire right-hand side to make all my notes. Usually I'll put a number within the script on the left, then a corresponding number on the right side with the "what" of the blocking. Since it's community theatre, I don't know how much you'll be able to get a groundplan, but that's also helpful to have on the top of every blocking page.
Best of luck,
Erin
35
Students and Novice Stage Managers / Re: Making my Rehearsal book
« on: Jan 04, 2018, 05:34 pm »
As others have said, it's certainly personal preference. I have my contact sheet the most easily accessibly in front, followed by schedules. The number of tabs for schedules alone can vary depending on the process - is there a month-at-glance that's just as handy as some others? Are things done more digitally and I don't print as much? (I'm a big fan of dry erase boards in the rehearsal hall.)
The script is usually within the first set of 8-tabs, and it too can vary how many tabs it takes and where I put it. I've learned I like the Preset and "Running Info" (my term for shift plot, often, or a who/what/where when doing opera) usually get the last tab of the first 8, and first tab of 2nd 8. Then I tend to do my various design areas, a place for reports, etc. Depending on the show my tabs sometimes change out. Sound? (Not so much on opera) Music/Dialect often gets lumped together since I rarely have both and re-use tabs. Other variances include Cast/AEA info (used for Chorus for operas), Venue Info/Front Of House...keep playing with what works for you. I've also gotten into having a handful of tabs in the back that are also pocket folders, where I keep extra copies of my one-page ground plans and backing sheets for easy access.
As for the script itself, even though it's "in the middle", I usually have it tabbed out separately with Post-It flags for scenes (top edge) vs songs (right edge), so it's still quite easy for me to find.
The script is usually within the first set of 8-tabs, and it too can vary how many tabs it takes and where I put it. I've learned I like the Preset and "Running Info" (my term for shift plot, often, or a who/what/where when doing opera) usually get the last tab of the first 8, and first tab of 2nd 8. Then I tend to do my various design areas, a place for reports, etc. Depending on the show my tabs sometimes change out. Sound? (Not so much on opera) Music/Dialect often gets lumped together since I rarely have both and re-use tabs. Other variances include Cast/AEA info (used for Chorus for operas), Venue Info/Front Of House...keep playing with what works for you. I've also gotten into having a handful of tabs in the back that are also pocket folders, where I keep extra copies of my one-page ground plans and backing sheets for easy access.
As for the script itself, even though it's "in the middle", I usually have it tabbed out separately with Post-It flags for scenes (top edge) vs songs (right edge), so it's still quite easy for me to find.
36
Tools of the Trade / Re: Smart Watches
« on: Oct 29, 2017, 03:20 pm »
Right now my director has a smart watch and it's actually been quite disruptive. He's also trying to do things at too many theatres at once, plus has had a sick child, so very often it could be important what's on the other end. I think a stage manager might handle it better and more subtly, as we're in the phase where he's giving a lot of direction rather than runthroughs. I know actors who've had them, but I believe they've turned off notifications or ignored them (or simply weren't popular! Ha.).
Erin
Erin
37
Students and Novice Stage Managers / Re: Acting and Stage Management
« on: Oct 26, 2017, 03:48 am »
I auditioned and got into college as a BFA acting major and partway through freshman year realized how I would be so much better suited to stage management...and that in reality, I'd kinda done it all along. "Remember, guys, this is when we all need our luggage!" and helping our director load and unload props from the attic to vans to each new venue and helping figure out venue adjustments and what to do if someone was sick....yup, I just didn't know the job title. (Ours had only really been on book for lines, and I'd been in theatre since I was 7.)
The best learning - I feel - is done hands on, and if possible assisting/observing other people do it. And then pouring through all the conversations here, finding another stage manager's brain to pick, etc.
Welcome!
Erin
The best learning - I feel - is done hands on, and if possible assisting/observing other people do it. And then pouring through all the conversations here, finding another stage manager's brain to pick, etc.
Welcome!
Erin
38
Students and Novice Stage Managers / Re: Stage Manager Duties
« on: Oct 10, 2017, 10:23 am »Quote
It seems especially odd to have the PSM be an understudy, vs an ASM. Outside of a complicated system of winks and secret hand signals to the board ops, it would be rather difficult to call a show AND be onstage, I'd imagine...
Not to de-rail the thread...but that is definitely the stage manager nightmare I have had some nights while sleeping. Haven't you?
39
Stage Management: Other / Re: Paging Calls in Opera
« on: Oct 10, 2017, 10:17 am »
I just finished an opera, with people who do more opera than I do. I called "Places for Mr. X" (and sent them a note saying that all my places were 5 minutes). He then told me he was confused whether it was 5 minutes or places....so I started saying "This is your 5 minute Places call"...at which point another singer got confused. ("I'm used to just 'Places'" Yeah, me too.) Sigh. I finally stopped adding the 5 minutes part a few days in....once the one guy seemed to figure it out. Or just said it on HIS calls.
But no, in American theatre, we tend to only give places at the top of each act, not internally after that. And in opera it's 4 or 5 minutes, but in many theatres I've done, it ranges from 1 minute to 3 (often, 2 1/2)...and the actors are upset if called too early (and wander off again if there's the slightest hold), whereas the opera folks panic if they're not there 2 minutes before an entrance.
Erin
But no, in American theatre, we tend to only give places at the top of each act, not internally after that. And in opera it's 4 or 5 minutes, but in many theatres I've done, it ranges from 1 minute to 3 (often, 2 1/2)...and the actors are upset if called too early (and wander off again if there's the slightest hold), whereas the opera folks panic if they're not there 2 minutes before an entrance.
Erin
40
Students and Novice Stage Managers / Re: Stage Manager Duties
« on: Sep 15, 2017, 10:06 pm »
Nope, doesn't happen to me.....well, not recently.
I worked educational opera for a decade, and one show one singer simply didn't arrive at the school. We all drove separately usually, with several people knowing each role. My boss was supposed to be narrator, and by this point I'd been around for maybe a year or two. She jumped in for a modified version of the show as the mezzo, and I (with a script, per usual for the role), jumped in as Narrator. Only a little blocking, and two parts I had to sing...but not operatically. It actually worked fairly well, and it became a side gig of mine - especially since for that one the "stage manager" mainly did load in/out and no cues during the show. I'd also started off as an acting major, so it wasn't totally out of my wheelhouse, though it had been a while.
As for a union show these days? Nuh-uh. Would have to be in my contract, with a rider, and be paid more. And asked. Though there are several contracts, especially for Theatre for Young Artists (ie, touring kid shows), where someone is hired as an Actor/ASM. They do load in and maybe a few other things, but also act in the show. There are also some ASM/Understudy contracts still around I believe, though a lot of union SMs are really trying to get rid of those.
I worked educational opera for a decade, and one show one singer simply didn't arrive at the school. We all drove separately usually, with several people knowing each role. My boss was supposed to be narrator, and by this point I'd been around for maybe a year or two. She jumped in for a modified version of the show as the mezzo, and I (with a script, per usual for the role), jumped in as Narrator. Only a little blocking, and two parts I had to sing...but not operatically. It actually worked fairly well, and it became a side gig of mine - especially since for that one the "stage manager" mainly did load in/out and no cues during the show. I'd also started off as an acting major, so it wasn't totally out of my wheelhouse, though it had been a while.
As for a union show these days? Nuh-uh. Would have to be in my contract, with a rider, and be paid more. And asked. Though there are several contracts, especially for Theatre for Young Artists (ie, touring kid shows), where someone is hired as an Actor/ASM. They do load in and maybe a few other things, but also act in the show. There are also some ASM/Understudy contracts still around I believe, though a lot of union SMs are really trying to get rid of those.
41
Introductions / Re: Aspiring SM intro
« on: Sep 03, 2017, 07:18 pm »
Welcome! We look forward to any input you have about what's different in Brazil, once you get your feet wet a bit more!
Erin
Erin
42
The Green Room / Re: Trivia Tournament IV: Trivia's Revenge!!
« on: Aug 31, 2017, 07:32 pm »
I can't tell for sure, but this looks like this is the most recent "thread" regarding the Trivia Tournament. I am often NOT the first person to play for the day, and really there are 2-5 people on any given day. (Maybe I shouldn't remind folks, as right now I have half a chance of getting a decent score!) I know one person does it after midnight most days, and another the first thing in the morning. Me...it's when I remember, and I certainly am not around every day.
Anyway, when I go to the page I tend to scroll down and see what the current scores are. When they're low, inevitably I say to myself, "Oh, great, a sports one....here goes" and then proceed to see how well I can guess. Not well today!
Erin
Anyway, when I go to the page I tend to scroll down and see what the current scores are. When they're low, inevitably I say to myself, "Oh, great, a sports one....here goes" and then proceed to see how well I can guess. Not well today!
Erin
43
Introductions / Re: Hello from Denver, Co
« on: Aug 16, 2017, 12:54 pm »
Hi Kurt,
At some point, we should actually meet up in Denver!
Erin
At some point, we should actually meet up in Denver!
Erin
44
The Hardline / Equity Current Issues: Dues Vote and SPT Update
« on: Aug 04, 2017, 12:55 am »
For those who aren't as involved with Facebook's various Equity groups (like Equity's Stage Door, or the Unoffficial AEA Stage Managers), two items have come up of recent notice.
If you are working an SPT at the moment or soon, be sure to familiarize yourself with the new items and options. For all members, regardless of your opinion, join in the voting process.
- There's a major dues cost increase up for a vote - both for annual dues as well as the initiation fee. There is MUCH discussion about it over on Facebook, but as background there has been no increase since 2002. If you are an Equity member, you likely received an email saying the voting would be coming soon....but like me, may NOT have received the actual ballot, even by checking spam, etc. Check for trueballot@webvote.us as the sender, and that you are fully paid up. Otherwise, email 2020@actorsequity.org; adding your Member ID number will increase the speed of response to send you a new ballot.
- The SPT agreement has just been updated on Equity's website. Recent other agreements have had Summaries written, so when I asked if there was one, a blog post was added today in the Member Portal as well. There are updates to housing requirements, added 401K deferment options, salary increases, and more. Two things not mentioned in the post are that straight sixes are now available for ALL tiers, and a runthrough is required with full tech in the space before a public audience.
If you are working an SPT at the moment or soon, be sure to familiarize yourself with the new items and options. For all members, regardless of your opinion, join in the voting process.
45
Employment / Re: Maternity leave on production contract?
« on: Aug 01, 2017, 01:57 am »
I did a quick search in the production rulebook. The only thing that comes up is the index at the end that says, "Maternity Leave (See Disability Leave)." After that, there is no specific wording other than generic disability leave, which could occur at any point, whether caused by an accident or other. There is an added tidbit of info "Actors on Term contracts will be eligible to request a leave under this provision only if at least nine weeks remain on their contract on the first day of disability." Also, "During the term of disability, the Actor shall not be entitled to any salary for the time during which services are not rendered."
My guess is there are further stipulations for individual contracts/best practices, but that it's a touchy subject. Anyone else have insight? Note, it's not mentioned in the index for the LORT contract.
Erin
My guess is there are further stipulations for individual contracts/best practices, but that it's a touchy subject. Anyone else have insight? Note, it's not mentioned in the index for the LORT contract.
Erin