How did you get your card?

[PSMKay]

Far too many depressing things going on in the industry right now. Let's rely on a little nostalgia.

How did you get your union card?  Tell us the story.  What show was it?  Did you get in on a points system or did a company buy you a union contract?  It doesn't have to be AEA, could be AGMA or IA, or any union that you may belong to.

[nmno]

I got my card on Rounding Third at a regional theatre that I'd been working as an ASM at for a few years.  I had been EMC and could have gotten my card earlier on points but glad I waited for a show that was a good match.  A small show, 2 actors, minimal automation, a director I'd worked with many times.  It was the first time since college that I was SM (vs. ASM).  The PSM of the theatre actually served as my ASM, sort of Stage Managing with training wheels which was brilliant - she's an amazing teacher and always knew how much rope was just short of hanging myself - she knew which mistakes to let me make and which she should step in and prevent.  I was really lucky!
My favorite day: the show is about 2 Little League coaches (I played several years as a kid) so one day, rehearsal was going to a Little League game, watching, talking to the coach, parents, etc...  One of those days of "really, this is what we do?"

[heatonSM]

I'm thrilled that I can finally be a part of these discussions!  I just got my Equity card this holiday season!  I just completed work on It's  A Wonderful Life: The Radio Play with American Theatre Company in Chicago.

I saw an ad for the production and I had worked with the director previously as a production manager and one thing led to another and pow!  I'm a proud member of AEA!

What a great Christmas gift.

[Aerial]

I got my card last winter from a regional theatre where I had worked for several years starting as an intern.  I was in the middle of my second year as a PA (and in the middle of tech for a show), when I got a call from the production manager, asking me if I'd like to be bumped up and get my card to ASM the show going into the upstairs space.  I accepted, opened the show I was in tech for as PA, trained a replacement, and went right into rehearsal for the other show.  I felt like I was in a good place in my career to take my card, and so far it has worked out with consistent employment since then.

[BeckyGG]

I got my card about 4 months after to moving to NYC.  I managed to get a job as a production assistant at one of the larger theater companies in their off-B'way space.  The PSM and ASM really liked me and convinced the company that they needed me to remain on staff for the run of the show (I was originally contracted only through opening).  Of course, I lept at the opportunity to learn more from these folks, so agreed to stay on. 

The show ended up extending but the PSM had a prior commitment and couldn't stay.  It was only a 2 week contract, so it was my choice if I wanted to be sponsored for my card (and pay for it myself) or take over the ASM track in a non-union capacity.  Given the choice, I picked up the contract.  I learned a lot on that show.  I am forever thankful for the stage management team that had faith in me, negotiated with the GM to keep me on for the run and ultimately, get me my card.

[sievep]

I got my AGMA card from signing an AGMA contract for Washington National Opera.  A friend of mine took a picture of me signing the contract, it was a big deal. 

[javnine]

Theatreworks/USA in NYC.  I was working as running crew for another theater, and Theatreworks offered me a contract.  I was convinced I would never work again, but I also knew stage managing was better for me than just being running crew, and I'd have to join AEA eventually.  I took the plunge.  I've worked consistently ever since, so it worked out okay.

[Scott (formerly Digga)]

I was earning points for AEA as a Production Assistant at the Fulton Opera House in Lancaster, PA.  The Resident PSM quit theatre altogether after the 1st show of my second season.  They had someone to cover the next 2 shows but needed a new person for the the 4th show and beyond.  I had SM'd the non-AEA children's tour with them and convinced the Artistic Director I could do it.  My first show as an AEA SM was W;t and I haven't looked back.  I stayed on to SM 10 of their next 12 shows.

[BKrynicki]

I had to get my AGMA card when I signed a contract with an AGMA opera company.  The only qualification necessary was the intiation fee either paid in full or taken as a percentage of each paycheck until the total was reached.

[Libby]

I got my aea card about a year ago. I had gotten all my points about 3 months before, but (albeit it illegally) not reported the last 3 weeks, since I didn't feel ready to join, and all the work I had been doing was PAing, which didn't care what my union affiliation was. I was just finishing up one show, and was actually ready, so as I went about getting all my "back" weeks, I got a call from the PM from LAByrinth Theatre Co. offering me an asm position for a show at the Public. It was a hell of a first show to be my first contract (15 actors, tons of scene changes, big personalities) but everything went well and I've been working since.

[SMrose]

I was offered my AEA card as an ASM for Eureka Theatre's (San Francisco) Threepenny Opera (1982?). This was a 100% equity show. I must say that I'm gald to have had many years of non-equity SM work to prepare me for that show. From that point on, I worked as an AEA SM in the SF Bay Area.  In 1996 I was offered a chance to take the IATSE apprentice exam for the Oakland, CA local. *I have to crow here*...I was the only woman and scored the highest on the exam (out of 9 of us taking the test, there were openings for only 4).  3 years later, I earned my journeymans (journerywomans) card.  Girls Rule!!!!

[johnmurdock]

I actually just got my card yesterday as I just signed an SPT contract for a new musical KINGDOM at ReVision Theatre in Asbury Park, NJ

I am very excited

[chrrl]

I got my Equity card in October of 2007.  I had been offered my card once before when a show I was ASMing needed another Equity contract to fill the ratio, but after careful consideration I turned it down.  I wasn't ready to go out and work as an Equity SM, but it was so hard to turn that down. 

I have stayed in touch with the people at the first professional theatre I worked at - in my home town, and when their Company Stage Manager decided to leave two years ago, I was on the short list of people they wanted to talk to.  They offered me the position and signed me to an Equity contract - I've been working with them ever since.  Keeping up relationships in this business is so important!

[babens]

I got my card with an U/RTA contract in the summer of 2004 as the rehearsal SM for Godspell and the PSM for A Streetcar Named Desire at the Porthouse Theatre in Ohio, run through Kent State.  I had previously worked for the artistic director as an ASM during my first professional gig on Bye Bye Birdie at Cain Park, in Cleveland Heights, OH.  I was good friends with the two SMs from the previous summer, and when both told me that they weren't returning I figured I would send in my resume and see what happens.  I was called in for an interview shortly after that.  The interview was great and relaxed (the artistic director even came in jeans and a sweatshirt, which is something she rarely wears outside of rehearsals, so I knew she already had her mind made up in my favor).

I've been a happy AEA member ever since.

I also joined AGMA in the fall of 2006 to ASM The Barber of Seville at Michigan Opera Theatre.

[missliz]

Just signed my Off-Bway contract for my card! I interviewed for an SM position and didn't get it (they decided to go with someone who knew the show in a previous incarnation) but discovered they needed an ASM about six weeks later.