Messages

46

Stage Management: Plays & Musicals / Re: Dressing For The Part?

« on: Jul 07, 2008, 09:09 pm »

I was actually the lone voice in a seminar the other day recommending that our Arts Management Interns reconsider wearing a suit if they were going for a backstage job. Of course, the HR leaders said "You can never go wrong with a suit" - and that is usually 100% true for interviews. But I opened my big mouth and mentioned that if you were interviewing for a tech or backstage job, you should certainly dress nice, but a suit might actually seem way out of place for people used to dealing with stage crews in ratty blacks. (And I'm sure I'll get plenty of feedback on my comment here, now, too!) But my point was, as many others have been saying in this forum, dress appropriately for the job at hand. If you're interviewing for a fundraising job for a theatre, wear the suit - and pearls! If you're trying to land the Assistant Tech Director job, ditch the suit jacket. Or at least wear a goth rock t-shirt underneath. Pearls still optional.

Even if the HR people didn't understand what I was getting at, I think the Interns did. 

47

SMNetwork Archives / Re: Aging in stage management (those late 20's)

« on: Jul 07, 2008, 08:47 am »

In my mid twenties, I learned a few things that made me a better stage manager - but more importantly, helped me get through the difficult shows more gracefully and with less stress:

- I learned I have a right to stand up for myself. It's sad that it took me so long to truly realize this. I used to do everything in service of the show - long hours, skipped meals, out of pocket expenses, doing everyone else's jobs, and jumping when producers or directors snapped their fingers. Eventually, I realized I didn't have to be the one to do it all. The show will still get on the stage, and it will still be great. Trust me - it will. Oh, and along these lines: I learned to be paid what I am worth. Don't settle for less.

- I learned not to micromanage. Because I am a perfectionist and wanted the show to be the best it could be, I ended up having a bit too many opinions about every little thing. This attention to detail got me a reputation as a high-quality SM, but I think I must have driven all the tech heads nuts! After getting out of community/semi-pro world and getting some professional shows under my belt, it was easier to sit back, relax, and respect the great work that those around me were doing - and that they did quite wonderfully without me looking over their shoulder.

- I learned I to walk away when a discussion is escalating. Tempers run hot onstage, backstage, and everywhere, especially during tech. Altercations and heated discussions are rather inevitable, but I learned to allow them only when they were essential. If there's work to be done, identify the task and then just get it done. You can talk later about why something didn't happen or about someone's sassy response. But if it's not an emergency, if it involves mostly just ego, or if it's taking your attention from other more important tasks at hand, just walk away. Take a note and deal with it later, but don't let a fight steal your attention and waste time, unless it involves safety or something that is immediately keeping the show from getting on the stage.

- I learned to do my job. Or more to the point, I learned not to stress out about how I thought everyone else should do their jobs. A director who liked to spend 1 hour each rehearsal on breathing and visualization exercises; an actor who thought the green room was his personal social club; a choreographer who liked making everyone else watch him dance more than he liked setting dances on others. I think you might have met these people too. These attitudes, egos, and inefficient practices used to make me tear my hair out. And maybe this is just one of those things that comes when you encounter it enough and can learn to let go... but one day I just let go. If they want to do or say something stupid, it's not my problem. I'll stick around, keep us on track when I can, and get a great show onstage. But I can't turn people into someone they are not or make them act the way I think they should. And that's okay. Letting go of this stress gives me more time to focus on doing the best work I can do.

So, no fancy tricks or tips from me. Just a frame of mind. (Better than losing your mind!)

48

Stage Management: Other / Re: Orchestra Stage Management & Unions/Pay Rates

« on: Jul 07, 2008, 08:23 am »

I have encountered true stage managers in the symphonic world only very rarely. More often, there is a staff member who is either called the Production Manager or Company Manager, and they handle setup, riders, tech schedules, house needs, etc. After loading into a house, the house SM (who is IATSE) is given a cue sheet - along with all riders and schedules, etc - and they call the show. Or this orchestra staff person calls the show themselves. Usually they're only calling curtain/lights up and then 2 hours later, curtain in/lights down.

Whether your musicians are union will be extremely important to set the parameters of how you work with them. Often with an AFM orchestra, one of the orchestra members is the official attendance taker and schedule creator for the musicians. This person is also union, and must be by contract. If a musician is late, they are docked pay - also by contract. But the musicians and the union require that this is all handled exclusively by union members. So in my experience, this means that you are handed the schedule from this musician union schedule person (and it's always accurate, correct, and acceptable - again, in my experience), and if a musician is late, you - the SM - are absolutely not allowed to call them. The union schedule person does this. Oh, and your SM watch gets synched to the union schedule person's watch so you both agree on downbeat time, etc.

But if you are working with a small chamber ensemble, it sounds unlikely that they are union (yet). And they probably need someone to handle venue issues and bring the lights up at the beginning of the show. It's great that they want to raise the bar of professionalism by making this position union. I think IATSE might apply the best in this situation.

49

Employment / Re: how long do you wait for a response?

« on: Jun 28, 2008, 12:38 pm »

I would definitely contact them - but never by cell - and be sure to let them know that you will have to cancel other travel plans, make living arrangements, etc, as soon as possible. If it is clear that you are thinking of future plans and not just being pushy, they should respect this and get you a quick answer. Good luck CBT!

50

Employment / Re: Dear Abby: Negotiating contracts

« on: May 21, 2008, 07:35 pm »

How out of whack is the pay? Less than half what you'd consider "reasonable"?

I've encountered situations like this before, and my response is usually just to walk away and look for the next gig. It's not my job to realign the finances of the theatre. I certainly tell them the reasons I can't take the job - low pay, no travel allowance, whatever - but then I move on and try not to think about it too much. Maybe I'm just cynical/lazy?? 

What have others done when you encounter an offer way out of range? Have you been able to successfully meet in the middle?

51

Employment / Dear Abby: Negotiating contracts

« on: May 21, 2008, 07:32 pm »

The following has been posted on behalf of a member who wishes to remain anonymous:

Dear Abby:

I recently received a job offer from a company that is non union.  The offer is not even close to a realistic wage for the job offer, and doesn't come with travel or housing.  Does anyone have any advice for negotiating this?  I have a feeling if I just lay my cards on the table it's going to be too much for them, but I also feel like they need a bit of a wake up call . . . if they are advertising the job to out of town stage managers, they should probably provide travel, housing, and a decent wage.

I really want to work on this production and for this company.

52

The Green Room / Re: Cooking for Stage Management

« on: May 06, 2008, 08:47 am »

If you want to be a real healthy rabbit, you can shred some raw beets and carrots, toss in a handful of golden raisins, and sprinkle with red wine vinegar.

Raw power food!
(I know some people who absolutely love this dish. I sort of like it okay.)

53

The Green Room / Re: Cooking for Stage Management

« on: May 06, 2008, 08:33 am »

I make giant batches of tabbouleh and couscous when getting ready for tech week.

The tabbouleh I fill with cucumbers, tomatoes, lots of fresh parsley, and some lentils or a veggie protein product for nutrition (I've a vegetarian). I put lemon juice over the top, usually by packing a few lemon slices in the container and squeezing them right before I eat.

The couscous has similar fresh ingredients, including chickpeas, fresh green peas, cucumbers, tomatoes, parsley or other lettuces, red and green bell peppers, or whatever else looks good and fresh in the market. The couscous also gets fresh lemon juice, or maybe even a vinaigrette salad dressing.

Both of these middle eastern treats are great for busy schedules because they don't need to be refrigerated, can be eaten quietly (crunching potato chips at the tech table drives me batty!), need only a spoon or fork (which you can pack or often find), and are full of nutrition.

I am also a huge fan of protein bars, but that's not really a recipe.

54

Stage Management: Plays & Musicals / Re: Alertness

« on: Apr 15, 2008, 07:53 pm »

I used to occasionally play games with myself to see how much of my "distraction project" I could get through before the next cue. This was often silly things like embroidery or crosswords. I would pick my warning line for the next cue (before I needed to call warnings for others or anything), and work on my side item - while still keeping a keen eye on the performance of course. The trick was to see how much I could accomplish before my warning line came for each portion of downtime, each night.

Not the most amazing solution, but as someone who thrives on multitasking and the stress of deadlines, it worked well for me.

55

Stage Management: Plays & Musicals / Re: Tips and Tricks: Raked stages

« on: Apr 15, 2008, 07:50 pm »

This might seem obvious or really be more the pervue of a PM, but:
Have a counter rake built and available.

This sloped construction, when placed on the raked stage, makes the stage flat again, so you can do things like place ladders/lifts for refocusing lighting instruments or adjusting set or hanging pieces. Usually this can be built from some pieces of heavy plywood and 2x4s.

56

The Green Room / Re: SMs in media?

« on: Apr 10, 2008, 08:55 am »

I enjoy watching "Sing Faster: The Stagehands Guide to the Ring Cycle".  ... And there must have been several stage managers for the various parts of the cycle (or on separate channels?), as there is at least one male and one female voice heard.

LOVE this movie!

And there are usually separate stage managers for different portions of a RING cycle. In general, one SM will do the first 2 operas and one the second two. Or they might alternate (1-2-1-2). And the female voice here is Francesca Zambello, who was a PA for this production back when she was a baby in San Francisco. She's now a mega-famous international opera director.

57

Employment / Re: resume format

« on: Apr 10, 2008, 08:50 am »

Hi Rik!

To answer your questions in general, I would recommend you have a resume tailored to the specific job you are going for at any particular time. If you're going for film, have a film resume; actor - list your acting credits; stage manager - highlight your SM experience. It's practically impossible for one all-purpose resume to be effective across these many fields. As far as the hyphenation goes, I wouldn't list all the titles, except perhaps on a business card or something. For a resume, title it with the job you are currently applying for. Or do something generic (though admittedly less exciting) like "Theatre Professional".

I don't think it is necessarily damaging at all to show your wide range of experience; on the contrary, I think it would be impressive to a hirer and your versatility probably helps significantly on each job. But keep your resume targeted and concise. This will keep your entry at the top of the pile, instead of diluting its effectiveness by trying to show everything at once. You can elaborate in a very effective and impressive way through your cover letter and interview.

58

Employment / Re: Changing lanes.....

« on: Apr 10, 2008, 08:39 am »

This is a slightly random but related thought...

One thing that was surprisingly hard when I transitioned out of stage management to office administrative work (but still in theatre - hooray) was the change in the level of physical activity. Sure, you sit at the table during rehearsals, but there is enough standing, walking, moving/hauling/lifting/hustling to keep the body a little active. Now there are days where I literally sit at my desk for 9 hours straight. I have to run and exercise much more in my off hours! So if you like having a physical aspect to your job, you might take a job as restaurant waitstaff, retail, or something where you are actually moving during the day.

This change in physical activity was very significant to me when I stopped working backstage.

59

Stage Management: Plays & Musicals / Re: No Smoking in Denver

« on: Mar 20, 2008, 10:26 pm »

Smoking is still banned in Denver. Here's a NYTimes article on the unanimous ruling from the Court of Appeals:
http://www.nytimes.com/2008/03/21/us/21smoke.html?_r=1&oref=slogin

60

Stage Management: Other / Re: Il Trittico

« on: Mar 12, 2008, 05:04 pm »

My very favorite Italian opera blogger "Opera Chic" just reviewed La Scala's TRITTICO:
http://operachic.typepad.com/opera_chic/2008/03/il-trittico-la.html

See. Opera is sassy.