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Messages - NomieRae

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Yes, I absolutely echo what cdavisnyc said!

I have found in the professional world that these behaviors very rarely reflect on your job as a SM, and more on the anxiety of the director as a whole. Earning their trust and having them understand that the show going well is your priority sometimes helps solve the issue. I've had directors that felt that stage managers and crew don't "care enough" and therefore the director never feels like they truly can let go.

Though, a lot of time you cannot fix it and just have to ride it out best you can, having guidelines in place is a great first step.

Giving notes during a performance is a GIANT pet peeve of mine, as is thinking they can stand in the booth if the show is sold out. No no no.

The Green Room / Re: Odd legal stuff you've learned
« on: Feb 27, 2015, 02:42 pm »
Fire codes and how they vary by city/state/how well bribed the local fire marshal is...

In some places there MUST be a 36" fire lane no matter what, even if someone stands there for less than 30 seconds they must be out of the fire lane... in other places as long as the item/person/etc imposing on the fire lane is movable by one human being it's considered fine (a chair, a rolling rack, etc)

I always err on the side of caution, but some places I've asked "wouldn't you get fined for that?" and everyone looks at me like I've got three heads.

Employment / Re: Overqualified?
« on: Feb 11, 2015, 08:45 pm »
I think it all really depends on the nuances of the position. What you might consider the things that make you "over qualified" might be filling in a gap that is missing in their scheme of things at the specific company.

Such as if you're a long term touring PSM who is used to a giant show going in and out of venues 50 weeks a year, and you apply for a small regional theater who is starting to do rep shows, your skill set is super valuable in a new way of understanding what it takes to turnaround a space, time management, etc.

I've applied for jobs I felt I was overqualified for, but always had a specific reason. Sometimes it's to work with certain people on the team, to gain new experience in a different area of the country, sometimes it's because I need the health weeks so I don't lose insurance. Some I was perfectly happy at, some felt like a job...but I don't regret any of them.

I use them for musicals, generally a dot/period where I begin speaking the standby sequence, and then the GO is a box around the word, syllable, or beat that it is called on

Job Postings / Re: Shanghai Disney
« on: Feb 05, 2015, 01:24 pm »
Interesting . . . I have a skype meeting with them next week - no language skill here . . . will report back what I learn.

Same here... wait I'm up against Matthew?! I better throw in the towel. ;)

Everything listed above is a great start -

I like to take a minute during the top of day chat and have everyone put my number in their phone, especially if I didn't have time/budget to make wallet cards. In the heat of the moment they may not have your number handy so having it pre-programmed in your phone serves to be easier for them, and also if you have to call them for any reason it shows up on their caller ID.

The Green Room / Re: Superbowl Half-Time Stage Set-Up
« on: Feb 04, 2015, 12:19 am »
1 24' Long x 12' High Lion Puppet

Best part of the whole evening. I could have watched her ride that lion all evening, I've got such a soft spot for puppets.

The Hardline / Re: Script rewrites
« on: Feb 04, 2015, 12:14 am »
I'm starting work on a  workshop/lab of a new show next week, sizable cast, standard schedule, with two presentations at the end of the two weeks of rehearsals.

It's been understood that the book will undergo major changes this round, however the book writer has to be absent for several days of the process. The general management office inquired asked me (as the ASM) if I would learn Final Draft and do all the script updates throughout the process.

When I heard that I balked... Of course we will track changes and distribute the master list as needed, but to format/paginate/update the book including stage directions seems to me on par with asking me to learn Finale and update orchestrations. I did end up referencing what Matt had listed earlier in this thread:

(J) Production Script.
(1) It is agreed that it is the duty of the Stage Manager to assemble and maintain the production script for the actual technical and artistic operation of the production and that the production script remains the property of the Theatre.
(2) No Stage Manager or Assistant Stage Manager will be required to prepare any additional production script or book for publication or archival purposes or for use in any other production of the play or musical.
(3) In the event the Theatre does request a Stage Manager or Assistant Stage Manager to prepare an additional script or alter the script for any of the above purposes, the Stage Manager or Assistant Stage Manager may agree provided that he is paid no less than $350.00 for each such preparation.

Luckily in this instance they decided to hire a script supervisor who is already versed in Final Draft.

The Hardline / Re: Facebook Postings
« on: Feb 03, 2015, 03:21 pm »
I'm gonna go with a big NO unless it is expressly for media purposes.  I would imagine that would fall under their media/press part of the contract and be subject to the same rules and regulations of B-roll.

A theater I worked at for three shows last season has god mic and page mic set up at SM station in the booth. Luckily I never announced anything over the god mic that I didn't need to....

But the button on the page mic faced away from me and there were two instances where I didn't click it back off. One was me talking about my plans for day off (innocuous) but then ASM asked me via headset if I was still talking to the actors, cause they couldn't really tell...

Second time? Alone in the booth and belched. Loud. Holy embarassing batman. Luckily the cast thought it was hilarious.

Great article. I've learned to hang out with people on Monday nights, and to join parties already in progress post show.

What really annoys me these days is if I work on a project and the dark day on the schedule is a Saturday and Sunday. Means I'm doing errands/laundry/groceries on a day where all the 9-5'ers are off of work.

Small gripe, but it gets to me, haha

The Hardline / Re: AEA SMs and your Meal Breaks--some questions
« on: Jan 31, 2015, 10:45 pm »
Because you have been told you must be there?
Because if you are not present, pre-show will not get done correctly, so you want to be there?
Because this is what Stage Managers just "do?"
Because the AEA contract you are on requires it?

Great follow up questions!

For that instance I cited where they provide me with a meal, yes they are requiring me to be there as that theater has the policy that the stage manager is to arrive at the beginning of crew call which is 1.5 hours prior to curtain. This isn't cited anywhere in their contract with Equtiy, but was presented to me when I accepted the position originally. I suppose if I wanted my full meal break I could have pushed the issue.

It does bring up a great question of what time SMs are meant to "clock in" for the night, are we only required to be there from half hour? I can't think of very many instances where either myself or other stage managers didn't arrive at either crew call, or one hour prior to curtain. Perhaps it's the level I'm working at and the productions I'm on. Curious to hear other's opinions!

The Hardline / Re: AEA SMs and your Meal Breaks--some questions
« on: Jan 31, 2015, 05:20 pm »
In rehearsal I take a full hour lunch, or if we are especially slammed I do 50 minutes and then prep for when everyone returns. If we have a full 3 person SM team I try to stagger lunch by 5 min, releasing people so we come back before actors. In Cue-to-cue and tech I try to take a full hour as well.

If you're going out of rehearsal into a preview, generally it is at least an hour and a half from end of rehearsal until half hour. So if dinner is 6pm, half hour is 7:30pm, which leaves only a half hour of true time for a SM break. In these instances I usually have my meal provided for me by the producers.

Once in performances, between two shows if I do not get a full hour before show down to crew call for the evening performance I usually ask for additional crew help so I am able to take a full dinner, or I ask for overtime. 99% of the time they rustle up an intern.

I quite often am asked to do things over my meal break during tech, but make it clear that priority for me is to eat and leave the building for a short while to re-charge and then we can come back. I've been lucky that no one has required me, it has always been phrased as "would you be willing to..." and sometimes I am willing and sometimes I'm not. 

It's a very tricky line to walk to not be a pushover, but also not burn yourself out. Each situation has to be weighed based on the show and circumstances. One show the crew had to completely scrape the floor paint down to the sub-flooring during dinner at a day of tech. Was I required to come back 20 min early to check spikes with the rest of the SM team? No. Did it save us some time overall? Yes.

My sacred break is the break from end of day until first call the next day (10-12 hrs depending on the contract) I don't shirk my duties, but it is amazing what you can accomplish and how relaxed you can be when you know you have those hours to sleep, have a calm breakfast, and then get back to it.

My personal preference is to list calling stage manager and on deck crew (including ASM) on the bottom of every report as a footer.

Other than that I only list crew/etc if it is a shadowing, or an absence/put in "Michael shadowed Spot 1 today in preparation for running the show 2/28" or "Allie in for Amy as RONNIE, scheduled put in"

The only upper management input I've had is to be consistent of putting it in the same place as GMs often use it to confirm who needs to be payed for put-ins, etc.

I'm unsure how they are getting around paying per diem, seems odd to me.

Honestly, you'd have to look at the schedule and figure out what a weekly paycheck is like and if you can pay your bills and save some for a rainy day.

Do take into consideration the emotional toll of touring, living out of a suitcase, eating at restaurants or continental breakfasts, being away from a gym, away from friends & family, if your health insurance is universal, etc.

Everyone has to decide what their "good enough" is especially in regards to non-union and freelance.

Sorry I couldn't be more help, but everyone's situation is different.

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