Messages

256

The Hardline / Re: AEA - LORT - QUESTION #1

« on: Aug 31, 2006, 01:31 pm »

I pefer that they put in the rider the "offical" closing date; as well as the possible extension.
Equity says that you have to give cast two weeks notice on any schedule changes. Usually after the show opens I ask around if the extension is a possibilty.

257

The Hardline / Re: AEA - LORT - REP - QUESTION #2

« on: Aug 31, 2006, 01:28 pm »

I'm not sure if I can help you, but I'll tell you my experience.

I did rep twice (it was a LORT and they won't do it again)

The first time I was the PSM on both shows. Equity approved of this after discussing it with me. I had an Equity ASM. I also had two actors that were cast in both shows. We rehearsed one show for four hours, took a two hour break, and rehearsed the other for four hours. We did this for a week; then decided to alternate days. (One day do one show, the next do another)
At first, I was going to have my ASM sit on one rehearsal and I sit on the next. I decided that since the two actors had to be there all day, I should be there as well.
Tech was almost a month long. We had two 10 out of 12's for each show. It was tough on my crew, and the two actors. The shows were pretty easy; but it was the time that it took to do it. They would go through the 10 out of 12's; then they would have to switch the set over to start the next 10 out of 12's. Near the end of the month everyone just wanted both shows to open so people could rest.

The next time I did a rep; they hired another Equity SM for the other show. Two Equity SM's and each had a production assistant. We had to keep the communication flowing. (two directors, but one set of designers) I sat in on their production meetings so when they talked about schedule I was in the loop. It was easy on me this time around since I didn't have a month of tech. However the crew still did.

Both reps didn't sell too well and ended up being costly to the theatre. They decided not to do them anymore. I know Alabama Shakespeare still does a rep schedule.

Hope I helped.

258

Employment / Re: to get hired...

« on: Aug 30, 2006, 03:32 pm »

I graduated with a degree in education. I did theater in college as a hobby; never thinking I could have it as a career.
After a few weeks as a substitute teacher, I decided to give stage management a try. I got a resume together with my college experience and called a theater that I found in the phone book to see if I could work for free. That was over eleven years ago and I haven't looked back.
The debate between grad school or no grad school is ongoing. I'm part of the no grad school camp, however, I do see some good points in going to grad school.
A lot of qualities that a good stage manager needs cannot be taught. If you have those qualities, a degree won't matter. You will have to start out with small companies for little pay. But if you keep at it, it won't take long to build a solid resume.

259

Stage Management: Other / Re: Opera tips

« on: Jul 31, 2006, 09:13 pm »

I just got my first opera gig!!! Wa-hoo! Sarasota Opera. I'll be an assistant stage manager.

Any other tips would be fantastic

260

Stage Management: Other / Re: Opera tips

« on: Jul 18, 2006, 04:12 pm »

I just got off the phone with an opera production manager. We were talking about the big differences between opera stage managing and theatre stage managing. One of the things he mentioned was called a "Who What Where". I think I've seen it on here as WWW. Now I know what that means!
I was wondering if anyone could send me a WWW. I would love to see what one looks like

261

Stage Management: Other / Re: schedule coordinator

« on: Jul 11, 2006, 11:06 am »

I sent my resume for one position, and the human resources manager suggested this position to me. I know major opera companies have scheduling coordinators, so I was curious to see if anyone has done it.

262

Stage Management: Other / Re: Event management

« on: Jul 10, 2006, 05:10 pm »

Where does one find these event management gigs? ($850 a week sounds good to me right now)

263

Stage Management: Other / schedule coordinator

« on: Jul 10, 2006, 05:09 pm »

I was wondering if anyone here had a job as schedule coordinator or knows someone that has done it.
I would love to get more details.
I would think it wouldn't be that hard for stage managers to do. That's a big part of the rehearsal/tech process is coordinate schedules

264

Employment / moving to the other city PHL

« on: Mar 21, 2006, 10:48 am »

I agree that Philly is hard to break into.
The stage managers association is very active there; and they do have drink nights. The best advice I can give you is that you find out when the drink nights are and go there to network. The SMA website can give you the name to contact.
Good Luck!

265

SMNetwork Archives / A question of loyalty

« on: Oct 24, 2005, 08:09 am »

Bravo people for sharing your stories!!!!

Let me share my story.
This summer, my theater that I've been working at for three years decided to do a world premeire musical that also had NY producers interested in the production. I've worked with the director twice before; and he can be very demanding. My theatre, like many theatres, did not have the resources it needed to make this production work.
My director also wanted to rehearse in NYC for the first week. Luckly for the theatre, my parents live in Jersey, so I could stay there and commute. I did get the Equity bump in pay for rehearsing out of town.
The theatre did not provide me with an assistant in NYC. (She stayed in Albany) My commute door-to-door was 2 hours one way. There was also script changes each day as well. So I had to set up the space, go to Kinko's, and get back in time for rehearsal. This happended the entire week I was down there.
I was exhausted, and was making small, stupid mistakes.
When I got back up to my theater, my artistic director pulled me into her office, saying that the theatre in NYC was upset that it wasn't totally clean after we left.  I told her that I didn't have an assistant with me to help me do all the things that was necessary to get done. She said "Well, we were paying you enough for you to do your job as well as an assistant's job" .  She would never understand that she didn't buy me time on that production.
I've complained about shows before, but this one broke my spirit. It ended up being a huge hit, but who knows if it will go to New York. My relationship with my theatre was never the same (the show I'm doing right now is the last production I'm doing here)
With many theatres barely surviving, they are going to squeeze the life out of you. I was very loyal to this theatre; I worked hard on each show, going above and beyond what was expected of me. In the end I got screwed. The only loyality you should have is for yourself.

266

The Hardline / HAVE I EVER READ THE RULE BOOK?

« on: Oct 08, 2005, 09:40 am »

It's a page turner that's for sure!

267

The Hardline / A Straight Seven

« on: Oct 08, 2005, 09:36 am »

I whipped out my battered Equity book to page 78 (J) (3) (b)

Each Stage Manager and Assistant Stage Manager shall have a meal break of no less than one hour during each work day at appropriate interval.

Isn't that what you gave him was an hour lunch? If he chose not to take the lunch, then he shouldn't get the overtime.

268

Students and Novice Stage Managers / getting a glimpse of backstage on broadway?

« on: Sep 28, 2005, 02:10 pm »

I agree with writing a note to the PSM,SM.
I did that for "Phantom of the Opera" ten years ago, and I got a backstage tour and a sit down discussion with the PSM! It made me decide to do this for a living.
If you get a tour, be sure to send a thank you note afterwards!

269

Stage Management: Plays & Musicals / musicals

« on: Aug 26, 2005, 01:46 pm »

The more organized you are, the better you will be. Musicals have more "stuff" going on (dancing, music, book etc)

Whats been done in the past is that the first day or two the whole cast learns the group numbers and as the days go by, split the rehearsals into two or three rooms (music, book staging, and dance). The PSM should stay with the director throughout the day, and the ASM goes to music or dance (if necessary. If more stuff is going on w/the staging, have the ASM there)

Each night, at the end of rehearsal, sit down with the director, the musical director and cheo and go over what they want to do the next day. It's good to have a French scene breakdown so people don't get booked in two spaces at the same time.

It gets easier each time you do a musical, I also find calling the show to be a lot more fun.

Good luck

270

Stage Management: Plays & Musicals / what should I do when there is a death?

« on: Aug 19, 2005, 02:24 pm »

First of all, I'm so sorry for your loss.

Second, I agree with the above. The position needs to be filled. Does it have to be you to do it? Again, where is your production manager in all of this? Maybe someone else could be involved in the hiring process.

Good luck with all of this. It doesn't sound easy.