Messages

31

Tools of the Trade / Re: Marking up on carpet

« on: Feb 08, 2014, 10:56 pm »

Here's a thread from the last time we discussed this topic:

http://smnetwork.org/forum/tools-of-the-trade/tape-out-on-carpet/msg47936/#msg47936

32

Stage Management: Plays & Musicals / Re: REPORTS: Including break times in report?

« on: Feb 08, 2014, 10:47 pm »

I have worked at three theaters where administration required it.  At two of these theaters, the duty was foisted off on ASMs.  At the third, we couldn't really trust the PA, so I kept control of it. 

I've always made note of break times (to help me remember when to take the next one) but only at these three theaters have I reported it.

33

The Green Room / Re: 2013 Univ of Iowa survey is live!

« on: Feb 07, 2014, 04:45 pm »

Shout-out for SMNetwork in the introduction, to.  Nice to see this site mentioned in the same paragraph as AEA and SMA.  Looking forward to digging into the results.

34

Students and Novice Stage Managers / Re: To Much Possitive Feedback?

« on: Feb 06, 2014, 01:14 pm »

Live theater is a tightrope act.  Like airport traffic controllers, 90% percent of our job is routine, but what we really get paid for is the *other* 10% of the time.  So it's great that things are going along swimmingly, and I relish those shows when they come along, but my mantra during them is "Be ready for the hairpin turn to hell."  When things get bad, I feel that it's my response within those situations that really makes my reputation.  When I get it right, those are the moments I'm most proud of in my career.  When I get it wrong, learning why is what lifts me to the next level of my profession, and accepting responsibility for my failings deepens my trustworthiness with the company. 

I guess what I'm trying to say is, when things are going smoothly and you're getting compliments for that, bank those compliments up for the confidence you're going to need when you're neck deep and sinking.  If people are complimenting you, that means you're creating space for experimentation and no single failure will be a catastrophe. 

Try to keep looking ahead for the next hurdle, and do what you can ahead of time to lower that hurdle.  As stage manager, you want the entire process, from first meetings to closing night, to be a satisfactory and rewarding experience for all your colleagues, and you are uniquely situated to make that possible.

Finally, accept that the tools that you bring to the table, even though they're easy for you (for whatever reason) are rare, in-demand qualities in the general population.  Don't confuse effort with productivity; accept the compliments as a benchmark of productivity without feeling guilty that you haven't (yet) "worked" hard enough.

Sorry about the rambling, hope this helps.

35

Stage Management: Plays & Musicals / Re: PROFESSIONALISM: Artistic Director wants me to email actors link to a review

« on: Feb 06, 2014, 01:02 pm »

How about you send the e-mail distribution list to your AD and she or he writes an introductory note to the link and e-mails it without you being in the middle?

Matt's suggestions are probably the least-complicated response.  It's like posting the required notice of the archive video on the call board with a card covering the actual date so that anyone who wants to know can lift the card to find out.

36

Employment / Re: How far to book ahead?

« on: Jan 30, 2014, 11:11 am »

In the SF bay area, with all of my theaters on the non-profit season subscriber model, I tried to pay attention to season announcements when they came out in the January-March time frame.  Then, using my knowledge of each theatre's production timeline, I'd try to plan out a season of shows I was a good match for with as few gaps as possible.  When I started out, I would have three or four plans worked out.  I'd then market myself, in as narrowly-targeted a manner as possible, to the shows I'd identified. Over time, as I developed working relationships with some theaters in the area, this process got pretty streamlined.  Usually by May/June, budget issues had been worked out and I had at least verbal agreements with shows from September-June of the next year.

Knowing what scale was, I could then budget out my income over the course of the season, and save up money from the large contracts to subsidize the smaller contracts.  I'd also carefully track my projected health weeks to make sure I wasn't in danger of losing coverage.

My career goals included avoiding out-of-town shows; providing a predictable base of income for my family; and working my way up the available levels of contract.  Planning family vacations months in advance was also a boon for booking so far in advance.

37

The Green Room / video interview posted

« on: Jan 23, 2014, 02:43 pm »

I just discovered that the interview that marketing had me shoot last year was in fact uploaded to our website.  If anybody wants to see me introducing SM to the patrons, check out this link (2 min youtube):

http://www.youtube.com/watch?v=ct-h6iHmrK8

Would be thrilled to get feedback.  How well did I represent us?

38

Tools of the Trade / Re: POLL: Paperwork Ownership

« on: Jan 16, 2014, 05:15 pm »

...when it's being used to teach - no problem.  But when it's being lifted because someone is being lazy, or trying to take the easy way out - or steal my "Knowledge" - then it becomes more of mean spirited thing - and that's what I don't like.

This is the heart of the subject for me.  We work in an industry where a vast number of producers are willing to exploit the labor of their workers, and a vast number of workers who are eager to let them.  Ethically, it's important, especially given labor history in the US, that the sweat and energy of the workers is rewarded or at the very least, acknowledged; and each of us on the labor side of things needs to work towards that kind of a world.  Matthew draws a critical distinction here between the paperwork owned by the theatre and the tools he's developed in his process, i.e., what can be shown as his competitive advantage.  Asserting ownership of one of Matt's tools without his permission, as if it's no more than a standard MS Office template, is a problematic practice at best.

39

The Hardline / Re: Understudies for AEA theatres

« on: Jan 06, 2014, 07:22 pm »

At OSF, the understudies go on.  It's a ten-month contract in some cases with over 100 performances.  During last season, every single one of my understudies went on except one who was also sick when needed. We did an internal cover for that night's performance.  Many of them went on for multiple performances.

We also get very little time to rehearse them, because of the rep schedule.  Roughly 5 hours once every 10 weeks.  They really just have to learn the show in their living rooms.

Just one of the things that makes this a challenging place to do the quality of work we expect.

40

Stage Management: Other / Re: Teaching Score Reading

« on: Nov 23, 2013, 12:03 am »

All of Gilbert & Sullivan is available at IMSLP.  Pirates is pretty easy, mostly 4-4 and 3-4 time, with extremely memorable melodies.

41

The Green Room / 2013 Univ of Iowa survey is live!

« on: Nov 01, 2013, 09:51 pm »

I just filled out the 2013 University of Iowa Stage Management Survey.  Lots of interesting questions this year.  It took me just over twenty minutes to complete.  The thing that took the longest was counting up the number of workweeks I had in the past year!

Here's the link: www.smsurvey.info

Have fun!

42

The Hardline / Re: Half Hour Call

« on: Nov 01, 2013, 09:09 pm »

It's rarely a problem for me, but it did come up this year; one of my actors told me that AEA prevented me from giving notes within the half-hour call.  Now, it's true, as a courtesy I try to avoid doing so, but this actor, and the deputy as well, were surprised to discover that there's no AEA rule preventing it. 

These are the kind of notes like "be two steps to your right during scene x, you're out of your light" or "remember, you wear the gloves in scene y but not in scene z".

What really made my deputy accept my position was when I reminded him that I can't call people prior to half-hour without making it a rehearsal call.  When I have to give notes, half-hour is when the actor is on the clock.

43

Stage Management: Plays & Musicals / Re: PROGRAMS: ASMs left out

« on: Sep 26, 2013, 07:40 pm »

The only way to make sure that you get something- anything from program credit to weekly pay - is to negotiate it in your contract.  If the theatre doesn't have to give you something for your work, you can't make them.  AEA requires that its members be given credit in materials presented to the audience.  Non-union, it's basically up to them. 

Philosophically, I agree that all of the people who contributed to a performance should be credited.  I've worked at several places, on the small side, that didn't credit run-crew, board ops, or ASMs.  Don't assume anything is an industry standard, or even if it is, that your particular theatre is aware of that standard.

If you forget to negotiate something important to you before you sign the contract, you can always ask politely if the theatre will give it to you anyway.  If it's just an oversight, they'll likely comply - if they have time to do so.  But if they say no - maybe the print deadlines are just too early - you just need to chalk it up to a learning experience and do the job that you're paid for.

Proactively, one thing stage managers could do to help everyone get recognized in the program is to include the publications department when the show's contact list is distributed.

44

Students and Novice Stage Managers / Re: Dealing with Panic Situations

« on: Sep 07, 2013, 09:32 pm »

My dog has a history of being somewhat anxious and overprotective.  When the stressful stimulus is over, she literally shakes it off and walks away calm as ever.  I've taken that practice myself.  When I notice my panic reactions triggering, I literally shake my body all over once, hard, then take a breath and proceed calmly.  Wonder if that helps other people too.

45

Stage Management: Plays & Musicals / Re: Calling Vs. Board Operation

« on: Aug 27, 2013, 06:55 pm »

I mean that a director or designer told a board operator to ignore your calls and take cues by themselves.

Hasn't happened to me; but I've heard of a colleague who had such a hard time calling the show that the Lighting Designer called the show on opening and the operators learned how to take their cues correctly.  That particular stage manager was not rehired.