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Messages - TarytheA

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16
Thank you so much, all! This helps a ton. I'll do a bit more poking around and let you know what I end up with and how I like it!

17
Employment / Re: The importance of on line presence
« on: Dec 02, 2015, 08:26 am »
That's a good question - I just tried that and the answer for me is no. Suggestions on how to do this other than creating a website for myself? I know I don't have time to keep it updated and I think it looks worse to have a website that has clearly not been touched in months than not have one. (If I see a small theatre company whose website says "coming soon!" and the show listed is from 8 months or a year ago, I don't have much confidence in their ability to be organized and on top of things.)

Anyway, other thoughts? I hate LinkedIn with a passion! :)

18
The Green Room / Re: WICKED backstage videos
« on: Dec 01, 2015, 09:10 pm »
Thank you! These were very interesting. I just spent an hour watching a bunch of them instead of making my Christmas cards. :) It was the perfect way to decompress and relax off a stressful day!

19
I think I've seen ClearCom the most, though to be honest it hasn't been something I paid special attention to. I used whatever the venue gave me, and their headsets always plugged into the beltpacks they had so I didn't worry too much. I mostly work in theatre and dance, but in the last year or so have been moving into managing special events, or performances where the audience moves around (which means I do too). The schedule is much nicer for my little family on those short gigs, and I like the variety. :) In those cases, I occasionally have a radio instead of a beltpack. But I think I would lean toward having something compatible with a beltpack, and get a connector for a radio...

So it sounds like some beltpacks have male connectors and some have female? Why would they not all be the same? I can understand different types of connectors (kind of), but I'm not sure why the same type (4-pin XLR, for example) wouldn't all be male or female on the same part of the system.

Thank you for your help so far!

20
I'm finally investing in my own headset to use as I freelance, so I always have something comfortable to wear. But I'm feeling rather overwhelmed by the options and would like some help! The last threads I found about headsets were from a few years ago.

Specifically, what is confusing me is the variety of connectors. As I look at various headsets, some of them specify that they come with XLR (like the Eartec Slimline Single, and Production Intercom's 710 & 910), and some don't (like the RTS PH-88, and the Eartec Fusion and Eartec Cyber). On the Eartec Slimline Single page, the description says that it comes with XLR, but on the side of the page, where it says "Buy Now," the only options are for other connectors - one- and two-pin Motorola connectors for radios. So are those adapters? Or are those some options you can choose instead of the XLR?

What does A4F and A4M mean? (I'm guess the F and M are female and male, but beyond that...I'm lost.)

I'm worried about getting something and then not being able to use it at the various places that I work. But I don't want to rule something out if I can just get an adapter and call it a day. What is normal? Is it even as simple as getting adapters for the various types of connections you might encounter? I think I've seen 4-pin XLR as pretty standard for headsets but when I started shopping I became overwhelmed by what looks like lots of options for connectors.

I want to get a good headset, and I'm willing to spend $100 or $150 to get something decent. Comfortable is key - I wear glasses and am rather prone to headaches. I'd prefer a single-sided muff, and want to be able to wear it on both sides (though if I have a really comfortable one, maybe I won't need to switch from the left ear, where I wear my headset primarily, to the right!). A nice bonus would be something that would shut off the mic if I flipped it up - I know some headsets come with that feature, but most of them don't seem to and it's not crucial. I'm pretty used to doing that manually. Obviously something that is reliable and will last is important too!

Is it better to order from the manufacturer or a dealer? Some of the manufacturers don't seem to sell directly - or if they do, they make it difficult to figure out how. I'm having a really hard time finding prices for some of the headsets that I'm looking at, which makes comparing them all the more confusing.

All this to say that I really need some guidance! Any information, from basic explanation about what is industry standard to specific recommendations about headsets to purchase and where/how to get them, would be helpful. I always thought that headsets weren't that complicated, but shopping for one has made me second-guess everything I thought I knew! :)
Thanks all!!!


21
Tools of the Trade / Re: Ergonomics and the Tech Table
« on: Oct 19, 2014, 10:39 pm »
Scrolling through my Facebook newsfeed today, I saw this standing desk and thought of this thread:
http://weburbanist.com/2014/10/16/refold-workstation-mobile-flat-pack-cardboard-standing-desk/

It looks like it would take a few minutes to set up and take down, but also looks decently light and easy to transport.  I believe it comes in a couple of sizes.

Just don't spill your coffee on it.

22
First, of all, congrats BayAreaSM!  I'm glad you were able to figure out things that worked for you/your team/your son.  I hope the show is going well.  And it is SO nice to hear others' experiences with this - sometimes I felt totally alone.  The lactation consultants would ask me when I had gone back to work and what my work environment was like, and I would have to say "Well, I work gig to gig, and my rehearsal/performance hours vary a lot, so...nothing is consistent.  Sorry I can't be more specific."  They didn't seem to know what to do with my crazy theatre schedule!

I had my first son at the end of January (AHHH! He's almost a year old!!!), and started rehearsals 3 weeks later.  BAD idea.  Now he was a week late, but still... So that's my first piece of advice to anyone out there.  TAKE THE TIME YOU NEED.  "It's just a human being small enough to fit inside my body," I thought.  "How hard could it be to take care of?  And millions of women have squatted to give birth in the fields, stood back up, and kept working.  How long could it possibly take me to recover?  A month should be PLENTY of time!"  Well, maybe I'm just soft, but I can tell you that I wasn't ready emotionally or physically to return to work.  But the worst part of it was my brain!  Nobody said I was doing a horrible job, and looking back on it I don't think I was, but at the time I really felt like I sucked as a stage manager.  I was used to being super on top of everything and all of a sudden my brain was a hot mess!  The hormones and the sleep deprivation turned my previously-organized brain into goop.  Nobody could have prepared me for what postpartum, in all its glory, really meant.  It is INTENSE, in many wonderful AND awful ways, and trying to throw work on top of such an intense experience was a silly idea.

Well, I know for next time.

But back to the point of this post - breastfeeding and pumping.  I found it crucial to talk to the director and my SM team beforehand to give them a heads up of what I would need, and come up with a game plan.  I found a quiet place to pump on breaks (I got permission to borrow someone's office who wasn't around during our rehearsal period), and we had code to communicate when I needed to "do my thing".  I would pump right before we started, and my ASM would field questions, and I planned to be finished about 5 minutes before we started so that I was available for anything last-minute before rehearsal began.  Since we were not under an AEA contract, I worked it out with my director to take one break that was longer than the others so I could pump once during rehearsal - and if I didn't come back right on time, my ASM called everyone back and ran things for a few minutes until I was finished.  I told them that I was available via text if absolutely necessary, but I found it extremely helpful during that 15-20 minutes that I pumped during rehearsal to pretend rehearsal wasn't happening.  I needed some time to "center" myself you could say, to just relax so I could go back to rehearsal refreshed.  I used my phone to play soothing music while I pumped, and sometimes I flipped through pictures of the baby to help get the milk to letdown faster and make pumping more efficient (though sometimes this made me want to cry because I wanted to be home with him instead of at work!).

During performances I was lucky to have the only other person in the booth with me be a girl, so during the intermission I was able to move away from the window and turn to face the back corner, and pump discreetly.  A couple of times I had to take care of urgent things during intermission, so I ended up having to pump while calling cues.  Not ideal, but it worked and the show went on.  Once I actually forgot my pump at home, so I bought a small bottle of apple juice from the vending machine, drank it/washed the bottle out, and hand expressed into the bottle.  Again, not ideal, but it's amazing how resourceful you get when you have to.

The second show I worked on, a few months later, I was backstage crew.  I admit, it was SO nice to go to work, come home from work, and BE home.  When I SM'd I was constantly doing paperwork at home and prepping for the next day's rehearsal and responding to emails, but when I was a crew member I had no responsibilities outside of the show.  But I went through a similar process with the pumping - I spoke to the appropriate people (in this case, my SM, her ASM, and the girl I shared a dressing room with - the crew was in costume for this show) and we came up with a game plan.  I was released of any intermission duties so that I could sprint downstairs, rip off the top part of my costume, and pump furiously for about 6 minutes on each side.  Looking back, I probably didn't need to pump quite so furiously - it made me rather sore and I think I created more stress than I needed to during those moments.

If I could have done something differently in regards to pumping, I definitely would have invested in an electric pump (or had my insurance company buy one!  I had no idea they had to!).  Maybe even a double electric.  We plan on having more kids, so I guess I'll have more times to practice!

As a final note, since we're talking about babies, I can't help but show off the Halloween costume I made for Jed.  He is the old man, Carl, from the movie UP.

23
The Green Room / Production Haikus
« on: Apr 19, 2012, 12:24 pm »
I love the haiku thread about actors, but haven't seen a thread about anyone/anything else in the process (except a tech thread in the archives).  And I know that actors aren't the only ones who behave poorly sometimes!

So this thread is for venting about designers, directors, PMs, crew, audience, etc!

This haiku is dedicated to my lighting designer:

The set is behind.
I know that's not ideal.
But leave in a huff?

Now you can't Focus
'Cuz April snuck up on you...
Your taxes aren't done???

They're college students
At a community school
Please cut them some slack!

Your words don't make sense:
"I'm not Mr. Negative;
The show's a failure."

You really said that?
Loud enough the cast could hear?
Unprofessional.

Re-number whole script?
The day before opening?
You must be crazy.

24
Why are you crying?
HER costume is "prettier"?
Are you six years old?

You're crying again?
Think you deserve more stage time?
Wait, how old are you?

25
I'm a pretty new SM, but my first thought on this is that it would depend 1) on the producer/production manager for your show, and 2) how you approach them.

If you go to them whining and complaining about "so-and-so did such-and-such" or said something you didn't like, or "she's really obnoxious and makes my job so hard", you might be fired for your bad attitude and being unprofessional.  But if you approach them and say "Here's the situation, I thought you should be aware..." or "My concern is X and I've tried Y with Z amount of success, do you have any suggestions for me?"  you're more likely to receive the help you're looking for.

Of course, it depends partly on the group dynamics you're working with.  If the producer's best friend is the director/actor/person giving you trouble, and the producer is THAT kind of person, he might not like hearing anything negative about his best friend and retaliate.  It seems a pretty unprofessional thing to do on his part, though. 

26
Self-Promotion / Re: Fahrenheit 451
« on: Sep 09, 2011, 03:18 pm »
And she's doing a fabulous job on the many complicated tech sequences!!!

27
The Green Room / Re: Any other crafters out there?
« on: Apr 26, 2011, 10:03 am »
I know this thread is from last year but I'm just findng it now.

I don't knit or crochet, but I love to cross-stitch.  I typically buy the $20-$40 kits (either on sale, or with a coupon) from Michaels or JoAnn's.  It's easy to carry around and to do backstage or in the booth - a lot of crafts (I also paint, for instance) either require room to spread out, lots of materials, are potentially messy (I'd hate to have paint get on a costume!) or are difficult to start and stop.  I've always been scared that with knitting if I have to put down my needles all the stitches will fall off and/or I'll lose count!

Also, headlamps are the best things in the world!  I used to think it was too dark to do anything backstage (and my arm got tired of holding a flashlight over my book), and then I discovered headlamps and haven't looked back.  Not only are they fabulous during quick changes where you want to use both your hands AND be able to see the tiny little button/snap/clasp clearly, but also for crafting backstage during downtime.  I have one that tilts, so I usually keep it tilted down (and keep it off when I'm not using it) so that I don't blind anyone who looks at me.

28
The Green Room / Re: Little luxuries...
« on: Jan 21, 2011, 06:49 am »
I always buy a bag of Peanut Butter M&Ms at the start of tech, and they usually last through the weekend - depending on how many people help me eat them. :)

I also will wear something tech-related in my hair (it's often tie line, but I have been known to keep my bun in place with a c-wrench) to appease the Theatre Gods.  I figure I need all the help I can get!  That's not really a gift to myself as much as a tech tradition but I thought it was appropriate to share.

My sweet husband has learned to be EXTRA nice to me during tech.

29
The Green Room / Re: Just a reminder . . .
« on: Jan 17, 2011, 09:17 pm »
My darling father, who is a genius in so many ways, has a harder time understanding theatre than almost anyone else that I've met.  I've been explaining things to him for over 10 years now, and still he occasionally asks, "Okay.  So what's the difference between the lighting designer and all the other designers again?"  I don't really know what to do with him.

Every time I see him, he asks me whether or not I've become a director yet.  When I tell him that I don't WANT to be a director, I'm a stage manager and a board programmer (lighting and projections), he is completely bewildered.  In his mind, the director is the very top of the food chain, and the ultimate goal of everyone in theatre is to become one.  I think the reason for this is twofold.  First, the movie world teaches us that the "best" people (the ones whose names everyone knows) are the actors and big-time directors.  The director is "the boss".  Second, my dad is a Lt. Col in the army, so his world is very hierarchical - he doesn't seem to comprehend the idea that in theatre, one designer isn't necessarily better than another, and the director isn't the top rung on the ladder.

Similarly, he frequently asks, "So why aren't you working on Broadway yet?"  To him, Broadway is the ultimate goal for theatre folk, and since he accepts nothing less than "the best" from his daughter, every year I spend not on Broadway is another year I've failed to really succeed. *sigh*  I may someday go to Broadway for the experience if the right opportunity pops up (and who knows?  maybe I'll love it), but I don't think that it's for me!  I love regional theatre and at the moment, see myself doing it forever.

30
The Green Room / Re: Tax Season!
« on: Jan 17, 2011, 08:42 pm »
A question along these lines - Does anyone have recommendations for a good (arts minded) accountant in NYC?

Good question.  I'd like to ask the same about Washington DC!

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