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Anyway for the attachment issue to get resolved? None of the attachments open on any of these posts.
The Hardline / Re: radio plays
« Last post by maximillionx on Oct 05, 2021, 06:30 pm »
Agreed on jurisdiction, always check your rep.

I've mentored a few student projects like this and also supervised an original podcast release. Some tips:
• Make sure your audio team has all the resources.
• Schedule your call times with more time than you think you need. It takes longer, takes always go over, and you can't generally record more than one person effectively without all the right things coming together.
The Hardline / Re: radio plays
« Last post by VSM on Oct 02, 2021, 10:49 am »
I would check with SAG/AFTRA as well as an AEA Representative. As the saying goes "Call Your Rep"
The Hardline / radio plays
« Last post by mizi5620 on Sep 30, 2021, 03:13 pm »
I am looking into producing a radio/audio play that would be recorded like a podcast and released online. Has anyone done this? I am unclear if this type of work would fall under AEA's jurisdiction. 
Hi All,

So glad to have found this resource. Wish it was available when I was working professionally.

These days I belong to an amateur company called the Tower Theatre in London, N16. We're working on a production of "Three Birds" by Janice Okoh which will be part of Black History Month in the UK. We open on October 16th. One of the props I need to make, (And I say this as someone who used to specialise as a Deputy Stage Manager so my prop making skills have never been brilliant), is two realistic dead chickens, plucked but otherwise intact. I think the term used in America is 'broiler chicken'. I need to be able to cut the head off one of the chickens with a small amount of blood coming out.

Does anyone one have any tips. So far my best, and I'm using that word very loosely, is to cast a real chicken using silicone then use the cast as a mould. Does anyone have any better ideas???

Many thanks.

laura Corkell.
Job Postings / Kennedy Center: Soliciting resumes for Tour Crew positions
« Last post by Maribeth on Sep 14, 2021, 06:17 pm »
Kennedy Center Theater for Young Audiences is soliciting resumes for the following position on upcoming tours: (Non-Union) Wardrobe/Props Supervisor with COVID Safety Responsibilities

The responsibilities of the Wardrobe/Props Supervisor include, but are not limited to:
1.       Loading and unloading of the truck, assisting in the set up/strike of the set, and directing road cases to stage/truck in proper order.
2.       Setting up/strike of the prop tables and costume racks, unpacking and setting up all props and costumes during load-in.
3.       In coordination with the Stage Manager, assigning and setting up dressing rooms in each venue.
4.       Supervising and training local wardrobe personnel during the load-in, performance and load-out.  In conjunction with local crew, acting as a backstage dresser during each performance.
5.       Managing the backstage area during the run of the show, facilitating any prop hand-offs and helping the Sound Supervisor/ATD in the case of a sound-related problem.
6.       Laundering or overseeing the proper laundering of costumes. Timely maintenance/repairs of the properties and costumes.
7.       Serving as a truck driver and, when needed, maintaining all applicable paperwork (driver log, trip log and vehicle condition report).
8.       Providing COIVD Safety duties for the tour. Responsibilities include implementing and maintaining KC COVID protocols, including mask usage and weekly testing for a company of ten.

Compensation for this position is $750/week plus per diem and housing when on the road. The start date for our next tour is January 11th, 2022, and the expected end date is April 10th, 2022. If interested in this or future touring positions, please send a resume and an email indicating your interest in such positions to , with “TYA Tour Crew Position” in the subject line.
Hi all! I'm seeking a stage manager last minute for a production of Mae West's "Sex" to be performed at the Tennessee Williams Festival in Provincetown. A (somewhat) paid vacation in Provincetown is included!
We're the Goat Exchange, a small theater company out of Harvard University. We're staging a fun, campy rendition of "Sex," and we're looking for a stage manager who would be able to join us for a week of rehearsals in New York (Sep. 13-17) followed by a week in Provincetown (Sep. 19-27). Housing in Provincetown is provided through the show dates (Sep. 23-27). There's a great cast lined up and it should be a wonderfully fun project to work on. Above all, as an emerging company we'd love to start working with a dedicated stage manager with a sense of humor as we develop more projects throughout the States and Europe, and, we hope, become able to pay our crew more!!
We are performing outdoors at The Boatslip, an iconic queer venue in Provincetown. The shows will be outdoors, and take place around a pool! This also means most of our rehearsals will take place outdoors and remain Covid-safe.
Organizational Overview:

The Children’s Theatre of Cincinnati’s mission is to educate, entertain and engage audiences of all ages through professional theatrical productions and arts education programming. We fulfill our mission through three primary programs:
*  TCT MainStage at the Taft Theatre
*  TCT On Tour
*  TCT Academy
Vision: To awaken a lifelong love of theatre in children and the young at heart.

Core Beliefs:
*  We believe in the power of theatre to enrich lives and create deeper understandings of people, cultures, and perspectives.
*  We believe that our audiences deserve high-quality experiences that are rich with wonder, honesty, compassion, joy, and wisdom.
*  We believe that the arts and education are not mutually exclusive.
*  We believe that the art we create must respect the diversity of our community.
*  We believe in the power of integrated arts education to enrich our lives and our communities.

Position Overview:
The Resident Stage Manager will assist the organization in fulfilling its mission of educating, entertaining and engaging audiences of all ages through professional theatrical productions and arts education programming.  The Resident Stage Manager coordinates rehearsal and performance needs for TCT.
This position will report directly to the Production Director in Cincinnati, OH, and will work in tandem with The Technical Director, the Associate Artistic Director/Company Manager, and contracted creative teams, which make up the key members of the Production Department.

     Duties include but are not limited to:

TCT MainStage
•   Stage Managing productions for TCT
•   Assist in managing schedules for technical departments and casts with Producing Director
•   Attending all production meetings, rehearsals, and performances
•   Assist in scheduling of rehearsals and performances with stage director and creative team members
•   Assist in paperwork generally associated with Stage Management including crew running paperwork, character costume breakdowns, and prompt book creation.
•   Assist in performer choreography and blocking record-keeping
•   Assist with coordination of MainStage season auditions
•   Recruit and manage Assistant Stage Managers and Stage Management Interns with the help of the Production Director
•   Along with Production and Artistic teams, manage schedules for technical department and casts
•   General Stage Management duties required for the production, including set up of the rehearsal room, taping out the rehearsal room, prop tables, and creating, maintaining, and distributing all paperwork including a prompt book containing blocking and production cues.
Education and Outreach
•   When available, acts as the Stage Manager for the final performances of TCT Academy and STAR performances.
•   Assist the Associate Artistic Director to coordinate and attend auditions and callbacks, assisting with paperwork where necessary.       
Technical Theatre Coordination
•   Along with the Production Director, create and manage technical schedules and IATSE crew needs.
•   Oversee unloading scenery, prop, and wardrobe trucks after load-out from the theater as available.
•   Along with the Production Director, supervise strike of all TCT performances.

Ideal and Minimum Qualifications:

•   Bachelor’s degree in Theatre Arts or related field, or equivalent work experience in Theatre Production/Stage Management
•   Ability to work and maintain schedules for technical departments and performers
•   Excellent communication and relationship building skills
•   Knowledge of and experience with Microsoft Office
•   Ability to read written music
•   Broad understanding of all aspects of technical theatre
•   Experience working with Labor Union Crews, and Volunteers[RJ1] [RJ2] [RJ3]
•   Ability to work with people from a wide variety of backgrounds   

Compensation and Benefits:
•   Annual Salary:  $40,000
•   Health, vision, and dental benefits available, partially subsidized by employer contributions, after a waiting period
•   403(b) retirement plan participation available with eligibility for an employer match after one year of credited service
•   Generous PTO based on years of service
•   Generous paid holiday schedule

To Apply:
Qualified candidates should submit whatever they feel best reflects their qualifications. This can come in the form of a video, cover letter/resume, portfolio, and/or demo reels. (Files should be less than 3MB in total, links are welcome). No phone calls, please.
Please submit materials and any references by September 3, 2021 to  Subject Line: Stage Manager Submission 
Start Date:
Mid-October, 2021
The Children’s Theatre of Cincinnati believes the stories on our stages and the work we do behind the scenes must reflect the diverse communities we serve. We believe inclusive work cultures spark wide-ranging, exploratory conversations and learning. Therefore, we strongly welcome and encourage people from all backgrounds, identities, abilities, and ages to apply as we continue our commitment to diversity and build an inclusive environment at TCT.
Godspell 2012 Revised Version
I worked for a company that did this every summer. What worked best for us was:

    -Having the deck painted a motif that works for all productions (usually it was wide "floor boards" and sometimes a toned down Jackson potluck style lol--always some shade of brown, cause that's what worked for our shows).

    -Each show had it's own spike color, using as minimal spikes as possible.

    -Each colored spike was covered with clear Marley tape (if there isn't dancing or busy foot work in the show than clear packaging tape would work in a pinch, temporarily).

    -During changeovers, one person went through and covered the previous shows spikes with brown gaff tape and wrote the show number on it. And then tore the brown gaff off that next shows spikes (obviously, make a spike chart to double check).

-All immovable scenic elements were "spiked" with a sharpie or paint pen. Didn't need to cover any of these by show because they weren't noticeable from offstage in our venue.

This routine works for our team for many summers with 3-5 shows in the same space in rep.
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