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Stage Management: Plays & Musicals / Re: CALLING: Articulation marks in SM calling script
« on: Feb 05, 2015, 09:07 pm »
I always use them too. Mine take the shape of a forward slash.
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14 Jan 2021: Happy 21st birthday, SMNetwork! I replaced the old broken mobile theme. -K
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17
Tools of the Trade / Re: Ergonomics and the Tech Table
« on: Jan 20, 2015, 11:42 pm »
I prefer standing whenever possible (at the very least for complicated sequences). I usually end up in a booth as opposed to calling from backstage and I've created a number of different makeshift risers to get my book to just the optimal height for me. This fall, calling a huge musical, there was no way in the booth set up to get the cue lights to work from a standing position (they were finicky little buttons), so I had to call the whole thing sitting, and I really hated it.
18
Self-Promotion / Re: Theatres That Have Opened - Easing the Emergency
« on: Jun 22, 2014, 01:29 am »
Ocean State Theatre Company, Warwick, RI late 2012/2013
19
Tools of the Trade / Re: Prop Money
« on: May 23, 2014, 12:54 am »
On one show I did last year, the props person was able to print out prop money on large pieces of newsprint on the plotter. Newsprint is more flimsy than real money, but a lot cheaper than some of the more specialty papers.
20
The Hardline / Re: To be Honest or to MRE
« on: Mar 22, 2014, 05:50 pm »Agreed with KMC and VSM. Last season I was asked to do a show with a possible extension week listed on the contract which conflicted with something I had already booked. I told the company that I could under no circumstances stay for the extension and they still hired me and dealt with it by asking me to file MRE for the extension week which they ended up using. I would have rather just had my contract end, but since it was true that the previous commitment was MRE I didn't see an issue with doing it that way.
I am in this same situation with my next show. I have another show that starts immediately after the originally scheduled end of run, but they are looking to extend now, so I cannot do the extension. I was honest with the producer about this because this is a theatre that I have worked at many times and hope to again in the future. I believe they are going to write my contract ending with the original date, but I'm not opposed to filing for MRE, as I am leaving for a significantly better paying job.
21
The Hardline / Re: AEA: E-Cigarettes
« on: Feb 18, 2014, 11:19 pm »
Based on my reading (in the safe & sanitary section and the LORT book), I don't find it saying we have to fill out a form for smoking onstage (smoke, haze and fog effects, yes, but a person smoking, no). If it is indeed the case that we should be, it is very unclear. Am I missing something more obvious?
22
The Hardline / Re: EMC Weeks
« on: Feb 15, 2014, 11:31 pm »
I don't have experience with EMC because I never did the program, but my experience last year with health weeks and overlap was that the week was only counted twice if the overlap was at two different theatres (so yay, 45 health weeks for 43 weeks worked...not that it matters after 20...)
23
Stage Management: Plays & Musicals / Re: REPORTS: Including break times in report?
« on: Feb 07, 2014, 06:54 pm »
I used to do it earlier in my career, after seeing a stage manager I assisted as an intern do it. I haven't done it in many years now, though, for the same reasons others have said: with multiple rehearsal rooms or staggered breaks its cumbersome. As I settled into my own professional style, I stopped finding it important.
24
Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Feb 02, 2014, 01:59 pm »
Does anyone have The Diary of Anne Frank?
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Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Dec 27, 2013, 04:42 pm »
Does anyone have Laughter on the 23rd Floor?
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Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Nov 16, 2013, 11:51 pm »
Does anyone have Into the Woods?
27
Students and Novice Stage Managers / Re: Taping glass props - advice needed
« on: Oct 21, 2013, 10:14 am »
My current show has some flying light bulbs that wrapped in gel tape to protect them in case they swing into something else on their way out, but their height helps mask the fact that its not the prettiest tape job.
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Stage Management: Plays & Musicals / Re: ESCRIPTS: Post your requests for electronic scripts here!
« on: Oct 18, 2013, 11:44 am »
Does anyone have Miracle on 34th Street: The Musical?
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Stage Management: Plays & Musicals / Re: SCHEDULING: How much information do you give actors?
« on: Oct 18, 2013, 11:27 am »
My calendar usually has the projected span of day on it (if that seems like it will be consistent after talking with the director), but I don't put out the specific daily call until the end of rehearsal the day before before even if I know it in advance. I put a big Subject to Change on everything.
30
The Hardline / Re: Employee-Handbook Required Preshow Calls (and more)
« on: Oct 13, 2013, 01:12 am »
I worked on the COST contract for part of this summer, and they get really specific about docking pay for lateness:
23(D) Lateness For Rehearsal or Half-Hour. For any unexcused Actor lateness for rehearsal or
half-hour (not caused by the negligence or failure of Producer-provided transportation and
excepting extraordinary circumstances), the Producer may dock the Actor’s Salary as follows:
(1) During the rehearsal period: $4.00 per quarter-hour or part thereof;
(2) For lateness to rehearsal after first paid public performance: $4.00 per quarter-hour or
part thereof;
(3) For lateness to half-hour of a performance: 1/60th of contractual salary for each half-hour
or part thereof.
An official and accurate clock will be designated.
It is understood that this will not affect the Producer’s right to send an Actor home without
performing and reduce salary accordingly. However, if Producer does send Actor home,
Producer cannot also deduct the lateness penalty.
The Producer shall ensure a consistent and uniform application of this provision.
In terms of calls, I've never had a producer tell me which calls I had to make. I usually call half hour, 15, 5 and places. Usually during intermission, I usually call 5 and places. If someone really wants 10, I'll call it. Another show this summer, the ladies in my cast had huge costume change during intermission, and getting 10 helped keep them on track.
23(D) Lateness For Rehearsal or Half-Hour. For any unexcused Actor lateness for rehearsal or
half-hour (not caused by the negligence or failure of Producer-provided transportation and
excepting extraordinary circumstances), the Producer may dock the Actor’s Salary as follows:
(1) During the rehearsal period: $4.00 per quarter-hour or part thereof;
(2) For lateness to rehearsal after first paid public performance: $4.00 per quarter-hour or
part thereof;
(3) For lateness to half-hour of a performance: 1/60th of contractual salary for each half-hour
or part thereof.
An official and accurate clock will be designated.
It is understood that this will not affect the Producer’s right to send an Actor home without
performing and reduce salary accordingly. However, if Producer does send Actor home,
Producer cannot also deduct the lateness penalty.
The Producer shall ensure a consistent and uniform application of this provision.
In terms of calls, I've never had a producer tell me which calls I had to make. I usually call half hour, 15, 5 and places. Usually during intermission, I usually call 5 and places. If someone really wants 10, I'll call it. Another show this summer, the ladies in my cast had huge costume change during intermission, and getting 10 helped keep them on track.