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Messages - Scott

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The Hardline / Re: Can they be Deputy?
« on: Nov 17, 2006, 10:07 am »
Ok I am about to start rehersal on a show on the CORST contract and AEA compant consists of one outside actor, the production manager, the company manager, the artistic director the bisnuess manager, the assistant TD, the costume designer...

Just to clarify -- all those people are signed as Equity actors and are wearing "another hat" on the production as well?

Do not capitalize. It is not a proper noun.

It's capitalized on my current contract.

(And everyone knows that Equity trumps English... :)

Employment / Re: more about resumes
« on: Nov 14, 2006, 06:18 am »
I just think the year is NOT industry standard.

I agree re: the year.

I generally give all the detail information in the Spot Q Standby and then the actual G-word moment  is a little simplified.  My book might look something like this:

Standby, Spot 2, P/U Luna UR, in 3/4 Body, Fr. 4 & 6, at 30%

and then:

(w/ 3rd note), Spot 2, P/U Luna UR, GO

Where: P/U is spoken as Pick-up,
Luna is the character name,
UR is Up right,
3/4 Body tells the op the size of the spot,
Fr. is pronounced Frames, which tells the op which frames to use, which have already been loaded with color as per the lighting designer,
and 30% is the intensity.

I've used commas above to indicate the various clauses that are actually seperated by penciled-in boxes in my script (if you know what I mean).

(w/ 3rd note) is my notation on when to call the Q and is not given to the op.

Hope this helps.

Students and Novice Stage Managers / Re: Prompt Book Help
« on: Nov 10, 2006, 07:00 pm »
I'm right with Matthew on this one.

I would say that Off Broadway, especially on shows with a commercial bent, one looks to "lock" a show on the first performance with invited press, with official opening as a relatively absolute deadline.

This might be somewhere around or after at least 14 public performances, if not more.

I find it hard to imagine a situation in which it's fair to lock a show until at least after final dress rehearsal, even with a limited amount of planned performances.  That is why they're called rehearsals...

That being said, there is of course a limit to how much and what kind of changes can be effected at any given moment. ($ and time.)

The Hardline / Re: Another question on joining AEA
« on: Nov 08, 2006, 10:18 pm »
But once you join, you can not work non-AEA theatrical production again - there are penalties for such things.  It's a big no-no in the union, and one of the things to keep in mind when taking your card.

I assume you mean you cannot work on a non-AEA theatrical production in a stage management capacity -- you can work under a union contract for another union (IATSE, SSDC, Local 1, etc.) or another non-stage management non-union position (electrics hang crew, carpenter, etc.)

You cannot perform these additional duties if you are engaged as an Equity Stage Manager without compensation above the Equity min.

As usual, I would reccomend talking to an Equity rep. for the best clarification.


It might help to learn how to count 8's if you don't know already.

The Hardline / Re: Another question on joining AEA
« on: Nov 08, 2006, 09:54 pm »

I think, as a business descision,  the best time to join a union, especially AEA, is when one is offered a contract under that union, assuming that the job can pay for the inititiation fee over the course of the contract.

The Hardline / Re: Another question on joining AEA
« on: Nov 06, 2006, 10:39 pm »
So my question is if I join AEA, does that bar me from doing any show (paid or not) that's not an Equity contract, or just any show in which i'd be acting or stage managing?  Could i still tech/run crew? 

The latter.  You could still tech/run crew.

Perhaps to the point of not sleeping?!?

I was going to suggest whisky, but I see from your blog that this might not be appropriate to your situation...

You might want to keep in mind Tom Kelly's edict (from The Backstage Guide to Stage Management) that "All things are not of equal importance." 

I also find that controlled breathing exercises, such as used in training the spoken voice, are useful for centering and leading to a calm, meditative state of mind. (Breath deeply and slowly, taking air in and releasing in controlled sustained counts.)

Your misadventures and triumphs in this situation reminds me of this oldie but goodie...

(This is the one that starts as follows:

Dear Sirs;

Last year I upgraded from Community Theater 5.0 to Small Professional Theater 1.0 and noticed that the new program began making unexpected changes. It installed something called Microsoft Stagemanager (TM) which it launches whenever rehearsal software is powered up...)

Students and Novice Stage Managers / Re: Rehearsal Suggestions
« on: Nov 02, 2006, 11:05 pm »

3.  Never answer a question with "I don't know".  If you honestly don't know the answer, say "I don't have that information right now, but I will get you an answer as soon as possible."

That seems to me like about 20 wasted seconds of valuable rehearsal time that will add up, especially in a new work/development situation, where the former may be a common and valid response.  (I also can't imagine pro actors just not laughing at you if you say that as a matter of course.)

I personally would reserve the latter for Those Who Just Don't Get It.

The Hardline / Re: SM "Present" at Rehearsals
« on: Oct 27, 2006, 10:44 pm »

My sense is that the intent of contracts that require an Equity ASM is that there always be present a SM in the room; other situations, as already noted, would seem to require more flexibility.

Stage Management: Other / Re: Opera suggestions
« on: Oct 16, 2006, 12:15 pm »

I would also (*plug*) suggest that the Stage Managers' Association might be a good  resource for someone looking to make a transition into opera, espcially with an AEA background.  A lot of members are either dedicated opera Stage Managers or float between the two worlds.  (*plug* *plug*).

Also, the SMA job postings have a fair amount of opera employment opportunities that aren't otherwise easily found.  (*plug* *plug* *plug*).

(My opinion is that an experienced AEA Stage Manager can hold out for a paying job in opera -- however, *plug* please PM or otherwise contact me if you [anyone] are interested in a non-paid internship/apprenticeship for an established opera company in the NY area with performance dates this coming January.)

Stage Management: Other / Re: Professional Road House
« on: Oct 03, 2006, 02:46 pm »
I'm also an ex-roadie, so I can go on and on about different roadhouses I've been to on tour.

Please do!!!!!!

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