Topics

16

Stage Management: Plays & Musicals / PEOPLE: Walk-Ons; How do you handle them?

« on: Jan 08, 2012, 11:31 pm »

I've experienced Walk-Ons in outdoor Shakespeare and in ballet. Normally it's someone who paid money at a company gala/silent auction for the honor, and sometimes it's a favor your AD owes to a former Chairman of the Board to get their 4 year old granddaughter onstage while they happen to be in town for Grammy's birthday.

Have you SM'd or ASM'd a show that had a Walk-On? How did your company handle it? Were there rehearsals? Costume Fittings? Were you the one responsible for said person? Did your show get modified for said person's appearance?

I'd like to hear about other people's experiences with this not-so-common occurrence.

Edit to subject line-Rebbe

17

Employment / Resume Workshop - Have you attended one?

« on: Aug 31, 2011, 12:28 pm »

I apologize if this is the wrong board for posting this. Please feel free to move it.

I searched around and found out that SMNetwork had offered a chat-style resume workshop in the past, but it seems that the chat associated with the workshop has been taken down (or at least I can't find it). Currently I am receiving resumes for a PA position where I work and the resumes and cover letters are just horrible in formatting, content and have a complete lack of coherent sentence structure.

By attempting to read these atrocities, I have become "inspired" to organize a Resume Workshop in my area. Aside from the one on SMN, has anyone attended one? If so, do you recall anything you felt was particularly helpful/insightful during said workshop? Aside from reviewing the basics of how to write an appropriate cover letter and how to format your resume in a basic sense (I know there are several versions of which way is correct), was there anything else covered in your workshop?

I appreciate any feedback/advice. I will be working with a local theater group to get the workshop organized, and I would appreciate any thing SMN members have to offer.

Thanks!

18

Employment / Consulting - A Hypothetical Situation

« on: Aug 25, 2011, 12:31 am »

The background:
You're a stage manager, you've never been a LD, a TD or PM - just a SM. You've got a friend who adores what you do. That friend owns a restaurant. A very important man helped your friend get the location for said restaurant. That important man is also part of a board that helped build a brand new performing arts center (attached to a high school) in your city. Your friend wants you to meet this important man, because your friend feels you could get a job at said performing arts center. You aren't really interested, and put off the meeting.

3 Weeks Ago (a little over a year later):
You're eating dinner at your friend's restaurant. Who's there? That important man from over a year ago. You are introduced. The important man and his wife tell you the sob story that no one seems interested in renting the venue, and they don't know why. They would like you to look at the venue and tell them what they could do to make it more appealing. You agree and say you're free during a time period between gigs, and you'll speak then.

Current Day:
The important man has contacted you and arranged for you to see the Performing Arts Center, along with him and his wife, but first - you must have a tour of the company he built from the ground up - as he is CEO and very important.

The Question:
At this point, it feels as if you are going to be a consultant, telling this couple what they need to do/change/acquire to make their venue more desirable for rentals. However, the subject of paying a consulting fee has never come up. Do you bring it up when you meet the important man at his place of business? At the venue? Via email when it's all over? Or are you just screwed because you gave a verbal agreement without mentioning money? You aren't a real consultant, but with your SM knowledge, you know a bit about theaters and what they should have...

What would you do?

19

Tools of the Trade / Digital Show Binder

« on: Aug 12, 2011, 11:18 pm »

So not referring to the posts about a digital prompt - I mean the other binder we keep that's full of schedules, calendars, rehearsal reports and paperwork from the departments along with deck sheets. Have you ever just kept one of these in an entirely digital format? Granted, having the hard copies in a binder that you can hand off to someone quickly is a benefit, but in our new era of Cloud fileshare options, etc - what is your feeling about this?

I've even had some actors do all of their work on the iPad. They only need a pen to fill out their contract, then they never need a highlighter or pencil during rehearsal, since they can take notes and mark up their script digitally.

I had debated going digital for the staged reading I'm working on right now, but I couldn't bring myself to do it just yet. And with the rise of theaters asking for SMs to give them a copy of their show files and prompt on CD due to diminishing storage space for show binders and prompts - maybe it is the wave of the future? What's your opinion?

20

The Green Room / What Kind of SM are you?

« on: Aug 04, 2011, 05:29 pm »

I've done some searching on different ways to phrase the subject and couldn't find anything, so here goes.

I start my Workshop musical next week. I popped into the theater that we'll be in, since the set was already in place from the main show we'll be performing with in rep. After checking it out and taking some notes, I spoke with the Prod Manager about how I was looking forward to working with my new director. She and I had spoken on the phone several times and she seems very "no nonsense" - and I'm excited about that.

The PM turned to me and said, "Well, you are a Director's Stage Manager. Every director says they love working with you."

A part of me wonders if that's a bad thing - as his tone was a bit odd, but part of me thinks it's a good thing. I like to adjust myself and my style to make it work more with the director's style and energy. My director last year was very "Berkeley" - shorts, flip flops, earthy - and I found myself mimicking him in dress, attitude, coffee selection, mood - and we were worked unbelievably well together. And we both had a lot of fun in the process. (He ended up using me as an AD from time to time too.)

I know there are SM's out there that have a style that is there's all the time and never changes. So if I'm a "Director's SM" - what style are you and why?

21

The Green Room / WWMD? - Merchandising...

« on: Jul 15, 2011, 10:58 pm »

Come one, come all to the WWMD? (What Would M. William Shiner Do?) Store!
I know what I want, do you?

http://www.zazzle.com/mwilliamshiner/gifts?cg=196061768866825817

22

Stage Management: Other / Prepping for a show with No Ground Plan

« on: Jul 14, 2011, 12:03 am »

In preparation for this Concert/Winery site-specific event, I had high hopes of taping out the ground plan of each venue so that the actors and director would have some semblance of how far away things are. I've contacted the TD from the Concert half of the show, and he's trying to get me a ground plan. As far as the Winery show is concerned, we're all over the place - in the "woods," in a gazebo, along a cement wall, inside a catering tent - and all I have are photos the director took when she walked on the grounds last week. Oh, and she drew a pretty picture which is obviously not to scale. I have been promised a catering plan on Monday, the first day of rehearsal, but that only tells me the inside of the tent area. Oh, and we won't see any of the spaces until our 2 hour tech just before the performances in each space.

Have you ever dealt with this? What would you do? There's a part of me that aches to think I won't tape out a plan so that we have a rough idea how far apart we are...

Or is this when I learn to relax, lighten up and just "let it happen"...?

There's a part of me that wonders - WWMD? (What would Matthew Shiner Do?)

23

Stage Management: Other / Calling a Concert with Multiple SMs

« on: Jul 11, 2011, 06:35 pm »

I've done a search and haven't been able to find a topic related to this, so here goes.

I've landed a Periodic Performance contract (at least it's better than my last one) and one of the performances is a concert. I'm working with 5 actors on 2 scenes from R&J and we're inserted among a symphony, ballet dancers and opera singers. We only perform 17 minutes of this concert, and this venue is not really used to AEA actors.

I had emailed the TD of the project, who's an outside contractor, about how the calling of the show will work. I'm only rehearsing my scenes in our home city next week, and I won't see the dancers, singers or symphony until the performance day. He says there's a possibility that the symphony will bring their own SM, the house has a SM and I am welcome to call from either the booth or backstage.

My question is - has anyone else ever done something like this? I've never had the opportunity of working with multiple callers before, and I definitely don't want to step on the toes of the house SM who has probably done this before. Does anyone have an experience to share? I'd love to hear how it worked.

24

Self-Promotion / The Pale King - April 18, 2011

« on: Apr 15, 2011, 12:21 am »

I am really excited about what will be the shortest AEA contract I've ever taken. It's a promotion for a book that is being released tomorrow, April 15 - which is our first rehearsal. The book is called The Pale King, and it was put together by the Agent of the Author, since the Author committed suicide in 2008. Our director, the founder of Word for Word, has selected chapters and has set up the book as a script. We rehearse Friday and Sunday, tech on Monday and do the only performance Monday night. I'm really excited about this, and even though it means I'm working 13 days in a row, I'm OK with that. I'm hooked on the Staged Readings.

If you're in the San Francisco area and want to see it, it'll be at the Herbst Theatre, next to the War Memorial Opera House in SF, Monday April 18th at 8pm. One show only - and we're estimating an hour or less run time. Can't wait!

25

The Hardline / Periodic Performance Contract

« on: Apr 04, 2011, 10:08 pm »

Hi Everyone,

Did a search on here and didn't find anything about Periodic Performance contracts that relates to my questions, so here they are:

I'm about to do a LOA Periodic Performance contract referencing the Bay Area Theatre Contract. My director (who's acting as the producer) forwarded me the Letter of Agreement/Periodic Performance Approval she got from AEA yesterday. Aside from the items listed on that letter, everything else we do should abide by the contract that is referenced, correct? {Question 1}

[A quick run down of the situation: we have 12 hours of actor rehearsal time, which is spread over 3 days, 4 hours a day, and one of those 3 days is our tech/performance day. We only have 1 performance. This all starts on April 15. The show will be performed like a staged reading; the 3 actors and I are all AEA. We will be recording the audio of the performance (under AFTRA guidelines) as it will be rebroadcast on NPR 3 times (AFTRA limit is 4 times).]

My issue is that she has listed our 1 tech/performance day with a 1 hour meal break (food provided) between the end of rehearsal and half hour. According to the the referenced contract (BAT), the cast can vote by secret ballot whether that meal break is 1 hour, 1.5 hours or 2 hours. (Which means she's either ignoring the vote option or assuming they will vote for 1 hour.) There is a rule 2 paragraphs above the the rule I'm quoting that says the meal break on a TWO performance day can be 1 hour, as long as a meal is provided. Even though she is providing a meal on the tech/performance day,  I still don't think that counts. It's not a 2 performance day.

With all of that in mind, she wants me to announce to the cast the schedule now. I don't want to do that until we settle this issue of the tech/performance day meal break. I assume I can do my Equity Business in the 10 minutes prior to our first rehearsal (day of) and settle the issue then, since the vote must be by secret ballot. That seems like the logical thing to do. If she can't wait and needs it settled now (or in the next few days) - has anyone done a vote prior to the first rehearsal, via email or phone? Granted, the "secret" part is completely shot, but I don't know any other way to get it done early. {Question 2}

Sorry if this is confusing, but it is for me too. I've never worked under a LOA before, and the referenced contract is a bit more lax that the LORT contract I'm used to working under. I appreciate any/all feedback.

Thanks so much!

26

Stage Management: Other / How do you care for your dance floor?

« on: Mar 14, 2011, 01:01 am »

For smaller companies, the Stage Management is the team responsible for care and maintenance of dance floors. I have to maintain 5 studios in my company's building, but at the theater we have IATSE crews, so I don't have to maintain the performance floor.

Over my years working for the ballet, one of my previous PSM's used lemon-scented ammonia directly on the dance floor. He poked a few holes in the plastic film and I would drip it on the floor as he used a push broom covered with a towel behind me. This seemed to do well on the floors. After he left, we got an ATD and he took over the mopping/scrubbing of the dance floor. However, once he scrubbed certain studios, areas became so slick, we couldn't use them. (We now have an entire studio set up theater-style [with wings and a crossover] that is no longer used due to the slick spots.)

I was then told that the ammonia was bad for the floors as it dries them out, and that we should only use a warm water wash. The ATD still takes care of the mopping and scrubbing, while I maintain the tape between the seams and the dotting.

What do you do with your floors? How do you clean them, yet keep them from getting slick? If you have panels of dance floor, what kind of tape do you use for the seams, and how do you keep it lasting through weeks of rehearsals?

27

Stage Management: Other / How did you get started SM'ing Dance?

« on: Mar 13, 2011, 05:48 pm »

I've seen a few posts on here about what was your strangest "Other" project, but I want to know is the Why and the How. Why are you stage managing dance? How did you get involved?

Did you seek it out? Did it fall into your lap?

How did get you started in this "Other" form of stage management?

And, if dance is something that you fell into, do you like it more, less, or about the same as your usual stage management form (straight plays, musicals, opera, etc)?


My own response:

Personally, I hated dance in college and never was chosen (thankfully) to call any dance shows. After graduation and moving to the Bay Area, an opportunity presented itself for me to apply as a resident ASM for a ballet company. I figured a season-long gig was better than nothing, so I applied (never telling them I thought dance was dumb) and got the job in 2003. In the middle of my first The Nutcracker I absolutely fell in love with the art. In 2008 I was promoted to resident PSM and I love every minute. I do enjoy going back to Shakespeare and straight plays in the summers, but I don't think I can ever give up the ballet.


What's your story?

28

Stage Management: Other / Greetings from your Moderator!

« on: Mar 13, 2011, 02:12 pm »

Hi Everyone,

I am the moderator for this year on the SM: Other board. I have been stage managing ballet since 2003 and have only had the opportunity to PA one opera back in 2002. I haven't had the chance to SM outside of theater or dance, and I'm very interested in learning more about our other arenas of work.

I am hoping to see lots of great activity on this board in the next few months. I know we are not the "norm" as so many young stage managers are focused on plays and musicals, but stage management in dance, opera, circus, and other exciting areas are important and deserved to be recognized and discussed. I'll do my best to start new topics in here, and I hope you can follow my lead!

Thanks for reading!
BayAreaSM

29

The Green Room / MIA Stage Manager - what would you do?

« on: Aug 03, 2010, 01:40 am »

To be as vague as possible to protect the possibly innocent...

As we all network and chat with other SM's on here, we may make a "virtual" friend, meaning one we may never meet in person, but still can go to for advice, etc. Say your virtual friend is working in a theater that you are about to work in. You want to view their spaces and mention that to your friend, and that perhaps you should contact a member of Production Management to do so. Your new friend says that you don't need to contact Production Management, since they are already in the theater and the theater's spaces - they can coordinate a tour for you, and the other upcoming SM's. They say they will get back to you. Time starts to get close to your starting date, and you never hear back from them.

Then you get your production schedule and you have a question. You don't want to make a fool of yourself in front of the person who just hired you, so you email your new friend again, to ask if this kind of schedule is common at this theater. And they never respond.

What would you do? Is it OK to feel let down that your virtual friend who made promises didn't follow through? Do you let it go, because you're going to get into your rehearsal space eventually, and maybe you can find someone else at the theater to confer over the schedule with? Do you ever confront (in a polite way) this person for dropping the ball?

Just curious as to how some of you may handle this situation...

30

The Hardline / AEA Experimental Contract - Workshop Musical - Help with Meal Break

« on: Jul 28, 2010, 04:10 pm »

Hi Everyone,

In the past 2 seasons, I've only worked AEA under Experimental Theater Contracts on Workshops, as my regular gig SM'ing a ballet company keeps me tied up the rest of the year.

After learning that a Musical meal break is 2 hours, or 1.5 hours, pending the cast's vote, I made note that if my day is 10-7, I get 2 hours, and if we vote for 1.5 hour meal, it's 10-6:30pm. So, 7/9 or 7/8.5, depending on the vote. With that in mind...

With my 10/12 day, my Prod Mgr has slated my schedule as follows:

11-3 Rehearsal in Studio
3-4:30 Meal Break
4:30-6 Tech on stage
6:30 Half Hour
7pm Performance

Now, this is a huge RED FLAG for me. If I've read my LORT correctly, there must be a break between rehearsal and Half Hour, and I don't really think a 1.5 hour tech counts as a break for the cast. Even though the PM has inserted a meal break between the rehearsal and tech, which one of us is right? In my mind, the day should be:

11-4:30 Rehearsal in Studio
4:30-6:30pm Break
6:30pm Half hour
7pm Performance

And I'll just have to wing it without a tech, since it is our second performance during the workshop run.

I would love feedback from other AEA SM's and those who have worked under Experimental Theater Contracts. I feel like I'm going crazy because I just can't see this as a proper daily schedule.

Thanks!
-Les