SMA Christmas Cueline

CUELINE SEPTEMBER 2011

America Strikes Back

Celebrating the Stage Manager

Hymn to Stage Management SHREK— SHREK —THE MUSICAL

Our Man In GREENING UK THEATRE Bermuda

History of the Cuelight?

Cueline

Christmas 2011

CONTENTS Page 1-3

Editorial: Just Say No

by Adam Burns

Page 4

Proproom

by Kim Hart

Page 5

60 Second Interview with Guest Editor Adam Burns

by Barbara Eifler

Page 6

SMA Events

by Barbara Eifler

Page 7

SMA Training

by Barbara Eifler

Page 8

So What Does a School Production Manager Actually do?

by Adam Burns

Page 9-12

A Maverick in London Dan Crawford at The King’s Head

by Simon Sinfield

Page 12

Equity News

by Brian Perkins

Page 13-20

SMA CENTRAL PAGES:

by Barbara Eifler

Page 21-26

Low Pay/No Pay - The Debate

by Adam Burns

Page 27-28

Curve, Leicester

by David Evans

Page 28-29

Christmas Carols

by “Flyman”

Page 30-32

Weird Props

by SMA Members

Page 33

SMA NOTICEBOARD

by Sally Palmer

Back cover

Hamlet Cartoon

by Harry Venning

Guest Editor: Adam Burns

Desktop publishing: David Ayliff

Views expressed editorially or by correspondents are not necessarily those of the association.

The editor reserves the right to edit submitted material without consulting the contributor.

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Christmas 2011

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Just Say No Theatre Company Seeks Slave Labour: An Exciting Opportunity To Earn Nothing And Work For People Who Will Never Pay You

W

ere some “employers” more honest, this is how many of the r o t t e n “exciting opportunities” on SJP and other sites would be advertised.

Let’s get this right. Work for this “fee” and you’ll be considered for future productions that may not pay you enough to live on.

Thanks Primavera and sod that! By the way, Since the slump, the Antigone, the show for baby malaise that which you would have always crawled been flyering, sold through our industry tickets for between became a teenager; £10 and £20 and their bolshie, unwashed previous production, and irritating!

Anyone Can Whistle at Jermyn Street was “It’s unfair how much it similarly priced and a costs me to produce sell-out, and the stellar my show,” it whines. cast definitely were Adam Burns “I can’t afford to pay not there for the love people too”, it uses to of the game or a great justify the previous nauseating whine to opportunity! Draw your own itself. conclusion about this particular teen and his washing habits!

A recent job on SJP (and this isn’t an anti-SJP rant, they have been very helpful - more on this later) offered you this: To flyer outside the NT, an hour a night from 9.30PM for two weeks, £5 per hour Notwithstanding the travel costs, this job is below the National Minimum Wage.

The company (I will shame them later let’s increase the dramatic tension!) sold it as “A great opportunity to meet the company in view of future job vacancies.” Their words, not mine!

I am fortunate. I am a busy freelancer and also PM at a leading school. Starting out nearly twenty years ago on the shop floor, I learnt my trade working on shows, and I was paid to learn it. Theatres and companies valued us enough, realising how important we were to the show and the industry’s future.

Let’s face it; we definitely work in this job because we love it, not for the money. Nowadays too much well trained and precious talent is being abused by the unscrupulous,

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and lost to the industry. This is the unforgivable shame for our great business.

Previously, “opportunities” were billed as profit share. At least these dangled a mythical carrot, although it was always value range and often like the emperor’s new clothes, especially among the ancestors of today’s “opportunity producer”. Now you lucky people have the opportunity to work for free - the most rotten carrot now is the one offering future paid work! Why on earth would a producer, used to slave labour, suddenly develop a conscience and start paying people? Can you see the Road to Damascus happening here?

Please turn away if you don’t want the truth about the jobs on offer these days: recently over two months I ran an incredibly complex and scientific study whilst consuming my nightly sherry! Hic! On SJP (sorry SJP, but you have the most advertisers, because you let these sharks do it free without censure) only around 50% of the jobs for any level of stage management paid a proper wage.

Makes stark reading, don’t you agree?

Half of the theatre companies advertising didn’t value your experience, skills or professionalism enough to offer you a real wage. I leave you to make yo u r o wn d e c i s i o n , a r e t h ese opportunities really worth the money?

Please let me make one thing clear. This editorial is not about knocking you in any way if you have worked one of these jobs - where as a stage manager you will have worked hard and been a vital cog in the show. Everyone has to start somewhere; it’s just a shame that it has

Christmas 2011 to be for these sharks. After all your training, why the hell should you have to work in an office or pub job, just to afford to SM a show? It isn’t right that people are treated like this.

There is another equally important factor to consider and I know Barbara has written about it before.

Again, without knocking anybody, what are the potential effects and liability of an inexperienced SM managing a large company? As stage managers we always consider the health and safety of our company and also its pastoral care. They are vital elements of the job. In nearly 20 years of doing this I have accumulated a vast array of useful knowledge (and often useless - I am excellent at repairing umbrellas and cement molehills) and experience of dealing with people and I am still learning. A young SM can’t possibly be expected to know all this yet, but that is the position you are placed in and without the support network of having worked with more experienced people - who do you call for advice when you’re not sure? Also, if you are not formally employed are you covered by employer’s liability insurance?

Does your “opportunity producer” even have any? Do they or you know all about the relevant licensing and laws for things like pyros, animals and children on stage? These will be things that a good PM, CM or CSM will know because they have had years of

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experience dealing with all the darn paperwork and doggie doings!! When I look at the jobs on offer as opportunities they are often jobs that are at this level and some of the cheeky beggars even have the temerity to interview you for your role as company slave. They get away with this because people feel they must take these jobs to get on the ladder. Is there is an alternative route?

Yes, but it needs collective strength.

We need to stop this exploitation, and find a way to make these companies cease their insult to our skills and our professionalism. We’re not asking for banker bonuses, just a fair living wage.

You are professionals, the best in your field and they are so blinkered, so greedy, they just can’t see it.

How do we achieve this victory? I’d love to have a definitive answer, but it could go something like this: The SMA get together with Equity, Bectu, the ABTT, The ALD, The Stage, ACE, SJP and anyone else who has an active role in employing or advertising for stage crew. Let’s talk to the TMA and the actors too, they had quite a vocal “stop low/no pay” campaign at the last Equity elections. We all ask our members to make like Grange Hill and “JUST SAY NO” (Google Zammo if this means nothing). If all our members in the SMA and Equity didn’t take any of these jobs it might force these companies to pay. If they can’t get the best for free, they’ll have to pay the best instead - YOU!

Christmas 2011 It’s time to stop these companies abusing your goodwill and desire to do the job you trained for. THERE IS NO EXCUSE for paying people nothing for their work. Where in all the brochures did it state, “Train for a job as a serf?”

Ross Perlin’s recent article, “Intern Nation” gave us the sub, “How to earn nothing and learn little in the brave new economy.”

How sadly apt this seems to the theatre world right now.

It would appear that to many an “opportunity producer” the SM job is viewed as an internship or add-on, not the vital component making the whole wheel turn. Sadly, unlike rich interns, we cannot afford to work for free.

To any producers who read this, PLEASE, if you are an “opportunity producer”, THINK AGAIN and respect your stage management and crew.

As an association let’s put our best foot forward (that should be some foot) and say “THIS STOPS HERE”.

Let’s make that annoying teenager wash, and purify our business of the smell of greed, because that is what it boils down to at the end of the day - greedy “opportunity producers.”

I urge you do not take a LOW PAY/ NO PAY job, you’re better than that!

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Edited By KIM HART

A

round up of interesting and unusual websites as resources for the most unlikely props you never knew you might need! All based in the UK.

Christmas 2011

Second hand anything: www.preloved.co.uk You probably already know about this site – but very good for vintage carpets and rugs – amongst many, many other categories - and no bidding palaver like on Ebay!

Vintage industrial lighting and accessories: http:// historiclighting.co.uk/products All sorts of light fitting and accessories – including coloured fabric covered cable – and links to related websites. Some items better priced than others, but worth a search.

Folksy: www.folksy.com Based in the UK, Folksy sells handmade items in all kinds of materials as well as offering ‘how to’ tips: Useful for: How to drill through vintage china & ceramic plates, how to make a satin ribbon rose.

Carpentry, bookbinding, pewter casting, hand knitted bread and baguettes … etc. etc.

Fake gem stones: www.props4shows.co.uk/ fake_gem_stones_silver_and_gold/1 015_0c.html Mentioned this website before – really good for all sorts of accessories – including fake food, fake plants, fake oversize fruit …

Made.com: www.made.com Suddenly all over the internet.

Designer furniture and accessories, prices quite decent – will also make to your own design. Based in London.

Period fabrics: www.vintagefabricmarket.co.uk Vintage linen, haberdashery, tin ware (biscuit tins) – and many more very convertible items – all well priced.

Toy Repairs: www.toyrepairs.co.uk/ hosplink.htm Interesting site with info on lots of people around the country who can repair/supply dolls and similar related critters – look under the Links tab for other contact details.

Old maps: www.old-maps.co.uk Old-Maps is the UK's most comprehensive historical map archive comprising site centred historical maps covering England, Wales and Scotland: OS County Series, OS Town Plans, post-war National Grid mapping and unique Russian Maps of UK target locations from the cold-war era.

Fake insects: www.sillyjokes.co.uk Mostly sold as jokes but some realistic items available.

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Christmas 2011

SMA 60 SEC INTERVIEW: Guest Editor Adam Burns IN STAGE MANAGEMENT SINCE: 1993 TRAINING: On the job.

FIRST JOB AND BRIEF CV: ASM for Midsommer Actors Company in Manchester. I progressed through working in site specific and outdoor theatre.

Then I was allowed indoors and toured both here and in Europe, worked for the circus for a while and became mainly a TSM, became CSM for Dan Crawford at the King’s Head, then Production Manager for Theatre Peckham via some other CSM posts. I am now a freelance PM and lighting designer as well as PM at Highgate School. I recently lit the Southampton Passion, an event seen by over 10,000.

BEST JOB SO FAR? Crooked Teeth for Rapscallion Productions - small company, toured European mid-scale and just a blast from start to finish. And: working for Dan Crawford, amazing man, amazing temper!

MEMBER OF SMA SINCE: 2007 WHAT DO YOU ENJOY ABOUT STAGE MANAGEMENT? Seeing the reaction of an audience and being a part of that creative process. I love the satisfaction of this job where every project you work on has a definite result.

WHAT MAKES YOU CROSS ABOUT STAGE MANAGEMENT? Our work not being valued by producers in particular! And the ridiculous amount of unpaid jobs on offer. People who treat others with no respect also gets my goat!

FAVOURITE MOMENT? So many, but two stick out: On tour with Rapscallion at the English Theatre in Vienna in 1999 - the in-house techies said “we want to play English drinking games.” A fantastic night ensued, but the tech the next day was a horror… The same tour being shown the sights and bars of Krakow by our genial host, Edward of Poland’s English theatre - this after the most terrifying drive of my career from Warsaw to Krakow.

WHAT DO YOU DO TO RELAX? I love reading and watching theatre now I have more time to do so. We love travel and I love playing with my four year old boy, Liam. I am also a big cricket fan.

HOT TIP OF THE MONTH? Always read the label first… avoid IKEA for stage furniture, no fit up has that much time.

WHERE DO YOU SEE YOURSELF IN 10 YEARS TIME? Having won euromillions and running my beach theatre bar somewhere hot. If not, hopefully as PM in a decent sized house.

FAMOUS LAST WORDS? “It’s going to be fine, trust me; I’m your stage manager.” Never failed yet!

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Christmas 2011

SMA Events NETWORKS: EARLY & LATE EVENING NETWORKS: Tuesday 13 December Christmas Drinks!

EARLY NETWORK - from 6pm at the George Inn, George Inn Yard, 77 Borough High Street, SE1 1NH Meet Rebecca Emery, new SMA Chair, and Sally Palmer from the office, clutching a copy of Cueline or similar recognisable SMA item.

LATE NETWORK - from 9.30pm at the White Hart, top of Drury Lane where it meets Shaftesbury Avenue - 191 Drury Lane, London WC2B 5QD Meet Rebecca - again! And others TBC, again with a copy of Cueline or similar.

Bring friends and colleagues, stage management or not

BY APPOINTMENT, any Tuesday, Wednesday, Thursday Meet up with Barbara, at the SMA office, at your office/theatre/rehearsal room, in a coffee bar near you – email office to arrange a time.

OTHER EVENTS: Railway Children at Waterloo, Wednesday 23 November, Time/details to be arranged – watch out for emails & check the SMA Website

FIRST EVER STAGE MANAGEMENT CONFERENCE! Save the date – Sunday 12 February 2012, 11am-6pm, at the Arts Theatre in Central London Keynote speaker: Vikki Heywood, Executive Director of the Royal Shakespeare Company and former stage manager Including afternoon of practical masterclasses / break-out sessions to choose from, launch of the SMA Mentoring scheme and much, much more!

For further details and a booking form, please email the office on admin@stagemanagementassociation.co.uk or ring 020 7403 7999.

We are very happy to be able to announce this exciting event and hope that many of you will attend. Non-members and non-stage managers – others from the industry – are of course also welcome to join us.

Special SMA members’ rate of only £25 for the day including lunch. Cost for everyone else: £40.

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SMA Training FINANCE FOR FREELANCERS, Friday 4 November, Scotland, in collaboration with FST (Federation of Scottish Theatres) Trainer: David Thomas. The must-have course for anyone who works as a freelance and has to manage their own finances. Includes great template spreadsheets and follow-up email support after the course.

Cost: SMA Members eligible for FST member rate, so £80 + VAT SCOREREADING FOR STAGE MANAGERS, Thursday 10 to Saturday 12 November, Cardiff (lunchtime to lunchtime; exam on last morning optional) Run by Antonia Collins and Jacqui George, with accreditation by the Royal Welsh College of Music and Drama if you pass the exam.

Cost: £100 SMA Professional/Graduate Members, £120 everyone else.

Check NOW if places still available. Digs list available.

INTRODUCTION TO EVENTS FOR STAGE MANAGERS, Sunday 13 November, 11am to 2pm, Theatres Trust, 22 Charing Cross Road, London.

Speaker: Matt Bunday. Coffee/registration from 10.30am and opportunity to ask individual questions afterwards until 2.30pm.

Cost: £15 SMA Members, £25 Everyone Else AUTOMATION FOR STAGE MANAGERS, Friday 18 November, 11am – 3pm, Palladium/Wizard of Oz Trainer: Alex Hitchcock from Stage Technologies who provided the automation on Wizard, hence there will be an opportunity to see automation in action as well as hearing from Alex what it does, how it is controlled and what it means for you as a stage manager - implications for managing schedules, emergencies, showstops, resets etc..

Cost: £15 SMA Members, £25 Everyone Else.

BACKSTAGE ACADEMY, a new foundation degree in Live Events Production based in Wakefield starting in November.

They also offer lots of short courses and the opportunity to complete individual modules of the foundation degree separately.

SMA Members receive a 5% discount on fees, enter code SMA100058 when booking online, see www.backstage-academy.co.uk Please check the website and your emails regularly – we often arrange training and/or events between editions of Cueline and will keep you posted electronically.

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So What Does A School Production Manager Actually Do?

By Adam Burns

I

jokingly call my job “retirement” (I wish I could at 39) from the theatre – in reality it is anything but a round of golf and a bit of gardening! My job entails pretty much a bit of everything stage and production management, lighting design, sound design, set design and building, occasional wielding of a paintbrush and (cue scary music) costume. If anyone can explain to me how all those size 12-16 and 34 this and that equate to small, medium and large in the women’s section at the National, I will buy them a very large pint! Oh yes and I teach technical theatre too!

So, in a nutshell, there is a lot of work in running a school theatre - you could be responsible for 10 departments in the real world. It is my responsibility to train crew (tech team) and remove the nasty habits they got before I came.

We have reasonably sized budgets and for the big shows, such as Sweeney Todd or Fiddler on the Roof I can normally bring in a reasonable amount of design and casual help. In fairness I have an all year round cazzies budget for the things that it just isn’t worth the pain of risk assessing for the kids to do!

We have a set builder we use, the wonderful Tommy D’Auria (free advertising!!) who is good value and brilliant - he is also a dab hand with anything artistic as he trained in design in Italy. I use the art students and also professional scenic artists.

I tend to light most of the shows, although I now have a couple of pupils who are starting to take that on - which is great - after all, these are their shows.

The job has so many plus points - a good wage, school holidays; most of your evenings are spent at home.

I can now watch the football, not find out the score at the interval!

Above all free school lunches must start that diet soon.

Are there any downsides? A few, the occasional difficult director (no difference then) and a complete lack of understanding of the needs for prop deadlines and budget constraint (still no difference then).

Any downsides are far outweighed by the positive aspects of the job and watching the kids get a buzz off performing on a professional set is great.

How do you get into working in a school theatre? You need a cando attitude, a willingness to learn new things and the occasional patience of a saint - all things Cueline readers have in spades. It does help to have another marketable skill like lighting, but this may not be essential. A techie friend recently said to me “jobs like yours are gold dust in this game.” I tend to agree.

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Christmas 2011

A MAVERICK IN LONDON A COMPANY STAGE MANAGER’S REMINISENCE - THE KING’S HEAD THEATRE

By Simon Sinfield

T

he first five minutes of my new job weren't going as planned. "Why don't you start with helping on the props for the musical?" the General Manager had said over the phone. Great, I'd thought; a soft boot while I find my feet and prepare to take over from the existing SM - five days away, on opening night. The young TAD (Trainee Assistant Director) in front of me this first morning, smiled. "That's the list", he said, handing me three neatly and ever so densely typed sheets of A4, containing a warehouse of 1940's Americana. What the heck was a Murphy bed? "OK", I ventured, "So what have you got left to find?" A beat. "That is the list." Still smiling, the TAD looked hopeful, rather than apologetic.

I spun around to the General Manager: "I'm going to need £500 and a big sheet of paper!"

This was 2001 and my introduction to the legendary King's Head Theatre, Islington, the first of the new wave of pub theatres to open in the early 70s. Its artistic director the equally legendary Dan Crawford - had found it by strolling the length of Upper Street, saying in every pub he visited, "I hear your lease is for Dan Crawford - copyright Simon Sinfield sale". At number 115 he got a hit.

A pub had existed here since c.1800 and the back room - a space that had formerly been both a billiard hall and a boxing ring - was to become the theatre, with Dan knocking through walls and building the stage with his own hands. In my time, the walls were covered in crimson textured paper, and the seating was mostly on benches at tables, for this was classic dinner theatre. On one wall hung a remnant of the Theatre Royal Haymarket house tabs and the LX rig was chock full of dusty Pattern 23s and 123s. The pigeon's-napkin of a stage had no wings and the crossover was through the dressing room. Access to the front of house for actors was over a ladder on to the flat roof.

The roof itself was on permanent appeal (with the bar manager making a fundraising speech before each performance). It leaked water on to audience members and electrics alike. Operating from the box in a rainstorm carried a certain frisson in the midst of the frequent mid-show re-plugs. It was on the roof, in fact, where I made my first contribution to solving the theatre's chronic storage issues, by building a lovely garden shed.

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Dan Crawford was tall, with flowing grey hair, and a sparkle in his eye. Brought up in East Coast America, in his tweedy jacket and cords, he had the manner of a rumpled English gentleman. He could be very charming and part of that charm was his immense passion for the business of theatre. Taken to extreme, however, this could, on occasion be a source of conflict; taking the maxim, "The show must go on" to the maximum. A previous stage manager at whom he'd thrown an ashtray, one of my directors who had received the sharp end of a table and I could all attest to that.

There's some debate in this issue of Cueline about the merits of working just for the experience. At the King's Head, the TADS were generally on internships of six months, with no stipend. Their reward, which I felt was not always that tangible, was to make contacts in the industry and to work with the directors of the many co-productions. Thankfully for me, they also doubled as ASMs and were often very good at it, whilst no doubt preferring to be somewhere else. On this first morning, I sent them out to all points of the compass and within a few days we had propped One Touch of Venus, a "lost� musical, which was to become the theatre's biggest hit in two decades.

The very success of the show led me to the first of my many clashes with Dan. The capacity of theatre was about ninety, in a continuum of comfort ranging from "bearable, but my neck hurts" to "agony, but I can't feel my neck anymore, so play on good fellows". Unfortunately our licence allowed us to go for 117, for which the tickets should have honestly stated, "Bring a friend to stand on". We also had a space for just one wheelchair user; at the front of one of the two aisles. It was on the morning of one of the sold out matinĂŠes that I received a call at home from Dan. He'd heard that I'd forbidden box office from selling any more wheelchair places, as I believed fire exits to be important. He wasn't best happy and when I pointed out that my contract stated that I was responsible for Health and Safety, he popped somewhat. I ended up saying, "In which case I resign" popping the phone down on him.

Despite the start, I went on to work there for three periods between 2001 and 2004, alternating with long contracts at the RSC and loving the contrast.

Shows varied immensely and without government funding at this time, the theatre was always only a couple of hiccups away from closure. I depended enormously on my pool of volunteers, to keep me from personally going under.

I really couldn't have done it without them and I'm glad to say that most seemed to gain something from the experience.

I hadn't even been interviewed by Dan for my first tenure as SM. He had almost turned up twice, but was distracted away and so I was hired sight unseen. For my second contract, things had changed and I was greeted warmly at the door

by Dan, who took me for lunch and gave me a ride in his vintage Jowett Javelin.

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One of my favourite times was to sit up at my office desk in the relative quiet of the late evening, while Dan was digging through his ancient and dog-eared contacts book, making call after call, often to drum up money for his next show, He always started his conversations with a distinctive resonant, "Hello, Dan Crawford here. How are yuuuu?" This was a great time to quiz him on his past shows and about working with some of thousands of actors that had trod the KHTs asymmetric boards. It was on one of these evenings that Dan told me I was his second-best stage manager in thirty years! I genuinely took this as a great compliment. I like to think that if I'd argued less...

In mid-2004 I came to work on the show that, for me, would not go on. With no sound or lighting designer on board, I knew that I'd be carrying more than my usual responsibilities. Whilst working the evening shows, I'd propped the show with the TADs, designed the basic rig, wired 48 spotlights and prepped the sound effects; putting in 85 hours over the previous week. On top of this, we had two documentary crews due to film the process: one for a biopic of the theatre itself, the other a team from Japanese TV. I was about to enter the Perfect Storm of tech hell.

In the plot, the desk developed a fault which meant that I had to offer states manually and then make notes on programming for later. The spare part sent over failed to help. Moving into tech, Dan added a new lantern for each bit of blocking he'd not seen before, meaning I was constantly having to work out repatches in reverse, whilst solo opping the show. Despite doing my best to keep up and having reached fourteen hours without a break, the actors on-stage started snapping. Then director and his leading lady started making loud and sarcastic comments about me from the auditorium. My protests were couched in a decade of professional calm, but they wouldn't let up and actually became more vicious in their jibes - accusing me of incompetence and of deliberate sabotage. Dan was in the auditorium - knowing this Director's explosive reputation (and previously having lobbed that table at him) but he wouldn't step in on my behalf. This was a decisive moment for me. As the tiny Japanese sound girl crept up to me and clipped a mic onto the side of the box, and the profanities on both sides reached new heights, I realised that I'd be leaving soon.

After my resignation, Dan and I remained more than amicable and I was the one who interviewed and short-listed candidates for my own job. In typical fashion, Dan failed to show for initial interviews and everyone had to be recalled, including the successful candidate - the editor of this month's Cueline! Time for another KHT reunion, Adam?

Links to Dan's obituary and some of my photographs: www.independent.co.uk/news/obituaries/dan-crawford-498952.html www.sinfieldphotography.com/gallery_441067.html

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ED’S NOTES: Thanks Simon and definitely! For all Dan’s faults, they were vastly outweighed by his passion, energy and what he brought to British theatre.

If you don’t know about the KHT or Dan, do have a look at the links to his obituary. The names and theatre folk that turned up at Dan’s funeral said it all, I am genuinely glad I had the opportunity to work with Dan. I miss him.

Equity News

By Brian Perkins he newly elected stage management committee (SMC) has met for the first time since the elections in July. This was the first time in several election years that enough stage managers were interested to be on the committee to warrant an election. Out of the 12 member committee we have four members who have never been on the committee and have a wealth of knowledge and experience to add to those who are continuing to serve. We are also really proud of the fact that although the entire turnout for voting for all Equity committee elections was only 7% the turnout for the SMC was 80%.

Thank you to all members who took the time to vote.

T

One of the biggest issues that we all face at the moment is the Low Pay / No Pay of stage management jobs. The Equity Council has set up a Low Pay/No Pay/ Rights Working Party to really look at the issue and SMC member Graeme Reid will be representing stage management.

Along with the issue of low pay/ no pay comes the subject of work placements and their pros and cons within the industry. The SMC’s point of view is that we support all work placements so long as they are not taking away paid jobs from professional stage managers. With this in mind at the end of the last term the committee created Work Placement Guidelines which you should have received by now by email and we hope you find them a useful tool. The SMA Board has endorsed these guidelines and we are hoping to get other industry bodies to give their endorsement as well.

As we all know communication is key to the success of every production and stage managers are key communicators. As part of the aims and objectives of the previous SMC was to enhance the way we communicate with our membership about what Equity is doing for SMs and from that we started to produce newsletters which we hope you found useful. We will be continuing to produce these but are looking at other ways of really communicating with stage managers. We are looking at creating a Facebook page and Twitter account to help this communication to continue to grow. More information soon.

In the meantime as always if you want to get in touch with Equity or the SMC to ask a question or raise an issue you can do this by contacting your regional organiser and/or contacting the SMC at stagemanagement@equity.org.uk

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SMA CENTRAL PAGES

By Barbara Eifler 1. First EVER Stage Management Conference 2. Work News and Updates: Olympics; ABTT Code of Practice on Working at Height; new at PLASA; The Theatrical Guild; social networking and work 3. SMA News and Updates: Freelist; Survey results 4. What’s been going on? Priscilla; Showcalling course: Edinburgh; PLASA and seminars; TAP event; RSC… 1. First EVER Stage Management Conference Save the date: SUNDAY 12 FEBRUARY 2012

2. Work News and Updates Olympics Jobs: As you will have seen from my email in October, a whole raft of stage management jobs were advertised and will hopefully go to lots of professional SMA members. For further jobs, check: www.london2012.com/getinvolved/jobs/jobs-at-london-2012-ceremonies/ ABTT Code of Practice on Working at Height: This has now been relaunched as a working truce has been arrived at over the use of Tallescopes between the HSE and the industry. We are actually allowed to use Tallescopes, and even to push them with a person in the basket, but there are strict conditions to be met and these are detailed in the Code, along with much other useful information on working at height.

Briefly, you need to follow a strict hierarchy when deciding the methodology for working at height and if you conclude you have to use something to get up high (i.e. you cannot fly the bar in, for instance, or reach it from a bridge), you have to consider other means of doing so, for instance MEWPs (Mobile Elevated Working Platforms) or scaffolding towers, and must have a good reason for using a Tallescope rather than something else. If there was an accident you would be asked to justify your choice of equipment.

Secondly, there are now approved ways of using the Tallescope – outriggers no more than 5mm off the ground, no use on rakes, Tallescope needs to be fitted with the additional pieces which are considered essential to making it safer

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(extensions for the corner pushing bars to make them higher, two additional outriggers, different castors, safety sticker – adaptation kit cost per Tallescope: around £300) and, crucially, operators must be trained.

Who by is still being hotly debated, with the manufacturers claiming it has to be them, but the HSE merely stipulating that there has to be training. ATG, for instance, are doing this in-house, as seems sensible for such a large organisation, but the same would apply to most theatres – train the Technical Manager and then he or she can train the rest of the staff and crew/casuals as appropriate.

In order to disseminate the Code of Practice as widely as possible, the ABTT are making it available FREE to read on their website to anyone. ABTT members can also download it for free, and if you wish to buy a hard copy, it will only cost you £6.00 and is well worth the accumulated advice and wisdom in its pages.

Go to www.abtt.org.uk New at PLASA for stage managers: just two products, honest…

Firstly, Gerriets, a German company which supplies scenic drapes and screens (the UK branch is currently run by an ex-SMA member) won the PLASA Innovation Award with a bit of plastic. Yes, amongst all that all-singing alldancing highly complex technical kit, this caught the judges’ eye. It’s a new type of attachment for blacks to a scaffolding bar which is much quicker than looping a tie twice round and then tying a bow. All you have to do is loop a bit of strong elastic over a hard plastic bobble. Done. Available in two sizes for different size bars, and with a red bobble to mark the centre. Love it. £2.30 each, cheaper in bulk. It’s called the G-Quick – see a demonstration on their website at: www.gerriets.com Secondly, a Dutch company won a PLASA Innovation Award for their GreenGo communications system. Essentially this is a cuelight and comms system which works on Ethernet, so can be plugged in to any Ethernet socket in any venue that has this capability. You can also connect to normal XLR sockets. You don’t need a central rack, that’s the big innovation. You can programme it for up to 250 groups, – e.g. on Sunday night for the concert you need comms in the wings and on followspot, but for the show during the week you need to label them differently… no problem. The central station is very bijou and small (and The. Buttons. Are. Too. Small – I’ve told them). You can enable different outstations to be able to do different things – e.g. can or cannot talk (like this one a lot!). The software comes with it and you can programme it from your laptop.

You can speak, cue and text through the same device. Oh, shucks, I’m rubbish at explaining this, but you can tell I got quite excited. See www.greengocom.com for further details, and look at those tiny buttons flush with the surface. Hah!

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The Theatrical Guild: this theatrical charity is unique in that it takes care exclusively of those who work backstage or Front of House – not performers, in other words. Founded in 1891 by actress Kittie Carson and 60 fellow performers, it can provide regular grants to retired members of the profession, one-off payments to help with, e.g., equipment, assistance with nursing fees, limited 6 weeks’ grants towards emergency childcare etc.. If you currently work in theatre or have worked in theatre for a minimum of 5 years and are facing hardship, then TTG may be able to help you. Contact admin@ttg.org.uk, tel.

020-7395 5460, The Theatrical Guild, Ambassadors Theatre, West Street, London WC2H 9ND. If you want to support this charity, please do become a Friend – the annual donation is £15, the Friend for Life donation £250, or you can of course donate any other amount. Join via their website at www.ttg.org.uk Social networking and work: do they mix? Not easily – or too easily. It is very hard for stage managers, I think, as so many people we work with might also become friends, or you might end up working with friends who are also stage managers… it’s a bit of minefield. What’s certain is that you have to be aware of the public nature of what you’re doing on social networking sites at all times.

Either be very savvy with distinguishing between who has access to what on your profile or remember that potentially everything you put on your Facebook page could be accessible to the world, including your employer, or potential employer, or past employer… There’s a TUC website which gives a few tips and is a good reminder of what issues to bear in mind, so it might be worth having a read: www.worksmart.org.uk/rights/socialnetworking

3. News from the SMA – don’t skip this bit and then tell me you didn’t know!

Freelist: As so many new members join every year I thought it would be good to write a reminder of what the Freelist is and who it goes to.

All professional and graduate members of the SMA can ask to be listed on the Freelist which goes out on the second Tuesday of every month. The deadline for submission of your details is ALWAYS the 7th of the month. You can submit via the online form, by filling in the emailable ‘blueform’ or printing the ‘blueform’ off, filling it in and posting it to us. By the way, it’s called ‘blueform’ because once upon a time when it was all done on paper, its colour was… blue.

And the name stuck.

You need to notify us every single time you want to go on the Freelist. If you don’t get in touch, you’ll be taken off next month.

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VERY VERY IMPORTANT: let us know if you have found work at any time through the month, so we can take you off. This stops employers being frustrated that they’ve requested the Freelist, say, at the end of September, given you a ring, and although you took on a job as far back as 11th September, you were still on the list! It’s up to YOU to keep the list current throughout the month, we do our bit by having it bang up to date on the second Tuesday of every month.

And who does it go to?

1. It goes to TMA and SOLT (the major management associations) who feature it in the members’ area of their website. We hope to have a similar arrangement soon with ITC, currently we just advertise the fact the new one has come out on their Members’ Noticeboard.

2. It goes out to 400 potential employers who are registered with us directly as wanting to receive the Freelist regularly. This list is constantly increasing.

Don’t forget to recommend to your current employer/stage manager/ production manager/producer to register with us to receive it.

3. SMA members can download the Freelist directly from the members’ area of the website and obviously many senior SMA members do so as they recruit teams at various times.

4. Throughout the month, the UPDATED Freelist is uploaded to the website and also sent out on request to employers, an average of once a working day. That’s why it is VERY important that you notify us when you stop being available!

Survey results: thank you very much everyone who filled in the survey and thanks for passing it on to non-members as well – we had a fantastic response, a total of 437!

The name drawn out of the hat for one year’s free SMA membership was Susie Jenkins who was very happy. Free Props CDs went to Rachael Miller, Matthew Llewellyn Smith and Catryn Fray.

Results: 60% of respondents had been working for 5 years or more; 75% were members of the SMA; 55% of Equity; 70% of SJP; 8% of BECTU; 5% of ABTT, and 5% of the Association of Stage Pyrotechnicians.

22% of you are working on a long-term contract for one employer; 23% of you have 1 or 2 employers a year; and 54% of you have more than 2 employers a year.

The main reasons for being a member: No 1 (61%): helps me find work No 2 (57%): provides resources to help me do my work No 3 (56%): speaks up for stage managers and their concerns No 4 (45% - level pegging): it provides relevant training courses etc; AND: the staff know about stage management and can give advice

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You’re least interested in: networking opportunities (32%). We had noticed!

Despite the fact we think networking is hugely beneficial, this is something stage managers don’t naturally take to; we are therefore now trying to provide as many opportunities for members either to come and talk to us or for us to go out and talk to members individually or in small groups (team in one theatre, for instance); and more events such as backstage visits which are interesting even if you don’t want to talk to anyone else on them!

Why are stage managers NOT members?

40% of non-SMA respondents said it was because of cost – membership is too expensive. Professional membership, at £85, is less than one Starbucks coffee a week, even less if you pay the early bird rate (£76.50), and you can offset it against tax as a business expense, thus saving yourself some tax. As members you all know SMA membership is a bargain – please tell lots of nonSMA stage managers as well and make us even stronger.

20% of non-SMA respondents said they didn’t know what the SMA does – we are working hard to put that right, trying to reach stage managers everywhere, and we are very grateful for your help in doing that – for instance by telling your networks about us, in the way Showdigs creator Amy Vaughan-Spencer has just done in her latest email newsletter! I’d like to return the favour by saying: please check out her website at http://www.showdigs.co.uk/. Have you told your Facebook friends and Twitter followers about the SMA? Does your LinkedIn profile proclaim your membership? We want to be even more amazingly representative than we already are – the more stage managers are part of the SMA, the more convincingly we can put across your issues to others.

What do you want the SMA to do more of?

No 1: fight for better recognition of stage management and your work in terms of pay and acknowledgement.

YOU SAY – WE DO: the first EVER stage management conference (see above) will have a panel on this issue, tentatively entitled ‘The Value of Stage Management’. Join us on 12th February to discuss this with others from across the industry.

No 2: provide more support to freelancers.

YOU SAY – WE DO: hence the Working as a Freelance session which we are planning again for next year as well as other support (e.g. contracts).

No 2, level pegging: I want to see stage managers and their work mentioned in the industry, press and media. We are working on that continuously and are always open to suggestions and new contacts.

A very close No 3: provide resources for my work, preferably online.

YOU SAY – WE DO: You will have noticed how many more of our resources are now available via the members’ area of the website, and they are continually being added to. The same number of you also thought we were doing this just right… so we think we’re on the right track.

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What’s the SMA doing just right?

No 1: help finding work No 2 (level pegging): Training/seminars/career development, and Advocacy.

Advocacy in a wider sense includes fighting for recognition and a higher public profile (see above), so taken altogether Advocacy services are something you like to see the SMA doing and which you’d like us to do more of.

The ‘outside of London’ issue responses are interesting: around 60 of you think we’re doing this ‘just right’, another 60 of you think we should ‘start doing this’. And then around 120 of you think that we should ‘do more of this’ and another 120 of you tell us you’re ‘not interested’! The SMA Board is still debating exactly where that leaves us in terms of strategy to be taken forward, but the SMA is committed to a policy of making the association and its services accessible to members all over the UK. Comments: We also had a total of 61 comments, some of them rather long. I’m picking up here on just some of them: 1) There’s a suggestion for an SMA approved industry contacts directory based on members’ recommendations 2) A Mentoring programme has been requested – watch this space, we are working on this.

3) Help when you want to move on from stage management: please do come and talk to us about this, we already provide advice and support for members in a variety of ways to help with such a move.

4) Fighting for recognition for stage management and against low pay/no pay.

We are working on this, in conjunction with others.

5) More discounts for SMA members: YOU SAY – WE DO: you will have noticed the Stage Electrics discount recently as well as special SMA rates on other people’s training, e.g. Federation of Scottish Theatres.

6) VERY IMPORTANTLY many stage managers, and members of either organisation, are still unclear about the DIFFERENT roles of Equity and the SMA in relation to stage managers and therefore the different, equally valid, reasons, for belonging to either or both. This is very obvious from some of the comments, so I hope to provide some clarification here.

Equity is a trade union. That means Equity is recognised by the management associations in the industry as the body with which to negotiate minimum terms and agreements for a particular workforce which includes stage management. That would be the primary reason for a stage manager to join Equity: to ensure that the agreements they negotiate are appropriate to their work. Within Equity, stage managers have the Stage Management Committee to represent them and one dedicated Stage Management Councillor.

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The SMA is a trade association, a membership organisation with the aim of providing support and advocacy to its members who work as professional stage managers, production managers and in related positions. The services it provides to members are almost entirely different to those of Equity – by design: there is already a union representing stage managers, and we should all try and make it the best possible union for stage managers, but therefore the SMA should and does provide different support, different services.

Another crucial difference is that the SMA exclusively looks after stage managers and related professionals, whereas in Equity stage managers represent a small percentage of the membership. Whilst that gives the SMA the advantages of a small organisation – focus, nimbleness, ability to provide individual support to members and respond to suggestions and requests quickly -, Equity can provide the benefits that come with size: e.g. legal services and insurance.

Often, interests and activities overlap – for instance, Equity is now also very engaged on the Low Pay/No Pay issue, and we are working with them: the more voices can be joined together on such a problem, the more likely a result. We have collaborated on joint training courses in the past and on issues such as stage managers’ tax status, and keep each other appraised of what we are doing. So we don’t each work in isolation, but we each have a quite distinct type of support to offer to stage managers.

The SMA’s recommendation has always been, and continues to be, that as a professional stage manager you should join Equity as well as the SMA. The two are not mutually exclusive, they are complementary.

5. What’s been going on?

It has been a busy few months…

Thank you Graham Hookham for a wonderfully organised and fascinating backstage tour and AGM on Priscilla – introducing the world to a new acronym for show reports: GRI or Glitter Related Injury. I joke not!

Then came Edinburgh in August (see Gail Pallin’s report below); as well as the Showcalling course run by Kate Salberg, popular as ever.

September kicked off with PLASA where it was great to meet so many of you over the four days and to see quite a few of you in the sessions organised by the SMA (Projection in Theatre; and Training for the Touring Code of Conduct), the latter session featuring SMA members Gilda Frost and Rob Young of LAMDA on the panel.

Also in September, this year’s Theatre Archive Project event took place at the British Library conference centre and was focussed on backstage. I chaired one panel which looked at the differences in stage management in regional theatre,

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represented by Brad Fitt, CSM at Curve in Leicester, and in the West End, represented by Sharon Hobden, DSM on Ghost The Musical. The second panel, chaired by Professor Dominic Shellard, Vice-Chancellor of De Montfort University in Leicester, included Richard Pilbrow, John Faulkner, Ken BennettHunter and Harry Landis.

And still in September we had a guided tour of the new RSC home in Stratford, courtesy of Flip Tanner who was the Project Co-ordinator (and previously a stage manager himself) and Heidi Lennard, one of the 12 strong team of stage management on this first opening season. Thank you very much to them for a very enjoyable and interesting day.

Gail Pallin writes: In August, the main thoroughfares of Edinburgh are transformed into a mass of colour and noise with a positively continental air. I had the pleasure of sitting outside a café on the Royal Mile with a red wine watching fire eaters, acrobats, burlesque, and many other entertaining characters, on a balmy evening (highly unusual for Edinburgh).

It was a relief though to find a quiet corner in The Traverse Theatre bar to await members, having struggled through the seething masses of festival troupers.

Within minutes a member came over and introduced himself – employed by Scottish Opera and having a short Fringe break – and soon we were discussing the SMA website (how we really should spend more time in the forum) and looking into setting up a props network in Scotland.

Another member joined soon after who was up from London and producing two shows in the Fringe.

We moved on to weighing up the pros and cons of the e-prompt copy. This related to a meeting I had attended the day before about research into new software which could automate blocking which I for one think is a brilliant idea.

Think how much more the DSM could do in rehearsals if freed up from notation.

We then had a brief visit from a young woman who had noticed the network meeting on our website, and had come along to ask about stage management training in Scotland. We of course gave her the lowdown.

It was a lively and interesting couple of hours, rounded off by a short peek into a fit-up in the main performance space at The Trav. In association with the National Theatre of Scotland, David Hughes Dance joined forces with Al Seed, Director of Conflux, and were opening Last Orders that evening. I couldn’t make that performance as I was off the see a lush production of Handling Bach at the stunning Rosslyn Chapel.

Thank you fellow SMA members for a great afternoon, and hopefully we will get the chance to meet up again before next year.

All other members - please get in touch if you would like me to organise such a gathering in your area.

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Stage Jobs Pro - Their View

C

ueline talked to the lovely people at SJP and asked them a few tricky questions on the subject of low pay/no pay jobs. Very kindly they got back to us and whether we agree or not we are grateful that they are willing to enter the debate. They also suggested contacting the Arts Council which we did - their answer later.

CUELINE: How many jobs for stage managers at all levels are advertised each month? How many are properly paid and how many are low paid or not paid? I am not looking at Edinburgh here, although that is another issue.

SJP: We can't give you breakdowns for particular roles, or unpick stats to exclude roles that may be fringe theatre, student productions, or those involved in Edinburgh Fringe as our database is not structured like that. In fact, if the article is going to feed into the on-going debate over low-paid/no-paid productions – it is important to not simply discount the Edinburgh Fringe, or indeed any other Fringe Festival such as Camden or Brighton, or Fringe Theatre as a whole.

These fringe productions really are at the heart of this issue and can’t be ignored if the debate is to be meaningful.

CUELINE: Do you feel that some "employers" are using your service to exploit your membership?

SJP: We do not allow employers to exploit our members, in fact much of our

time is spent ensuring all the employers using our service are genuine and the jobs and opportunities posted on our system are accurate. In particular we focus on ensuring employers stipulate the rate of pay (or lack of pay) and that they then live-up to their promises.

If an employer fails to provide the conditions of employment stipulated in their SJP job advert we remove them from our system and stop them from using the site in the future. We will also chase up fees that have been promised and not paid. We post both paid and unpaid roles, but we ensure the information is clear, so all our members know exactly what is being offered before applying. And we are, of course, one among many publications (online and offline) that publish jobs and volunteer roles.

CUELINE: Are you aware that the "jobs" offering expenses are now breaching the law on the national minimum wage?

SJP: Unpaid jobs, internships, the issue of voluntary work are thorny issues which many organisations are struggling to deal with. The BBC regularly offers them, as do a plethora of theatres and organisations and the Arts Council helps advertise them. Indeed, a recent Freedom of Information request showed that 1/3 of graduate jobs on a government

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website was offering unpaid Internships, some of which are deemed to be voluntary positions and thus not subject to the NMW. Are four people who choose to produce a play, each volunteering their time and entering voluntarily into such an arrangement (e.g. a fringe production), required to pay NMW? It's not straightforward territory. Stage Jobs Pro is more a conduit for information, of course, rather than an employer, charity or company directly offering either employment or internships.

What is interesting about this debate is that when we have actually asked our members (Stage Jobs Pro is now the largest database of theatre professionals in the UK, with over 36,000 members), we find that the majority of them (50%+) want not only be to alerted to unpaid opportunities but also to be able to apply for them.

Stage Jobs Pro is a membership led organisation, our system works because our members find the service useful. In view of this we continue to improve and innovate our system at their request. So instead of hiding this information, we have focused on ensuring all information is accurate, forcing employers to become more honest about the opportunities they are advertising. We no longer accept jobs "To be discussed" or "subject to experience" rates of pay, at the very least all employers should be open about how much they are willing to pay and what is expected from their employees.

CUELINE: This might be tricky-but do you have any idea how many

Christmas 2011 companies offering, "A great experience to work with an upcoming company and the chance to work on properly paid contracts in the future" or similar wordingever go on to a) offer such a job and b) give it to the member who took the first job?

SJP: Unfortunately we do not have much information about what happens after a candidate is taken on by an employer. We don't make decisions as to who is hired, and as such we can only give general insight into the area. We do see that employers are different, whilst some focus more on training, others look for experience. Some are more comfortable to work with a known quantity (someone they have worked with in the past) whilst others are looking for a fresh take on the role.

One thing we are very conscious of is that it is important to stay connected to the industry, to constantly be talking with your peers, and potential employers.

Would it be better if these positions were paid, without a doubt, but do these positions also help your chance of getting paid employed work later, almost certainly! It is easy to say “do not take unpaid roles“, but these roles can help build the connections you will need to help progress your career. Many of our members started their career this way, and many industries operate similar voluntary or internship roles.

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CUELINE: You mentioned that many members are happy to have these "jobs" – what percentage roughly please and do you have a forum/survey that backs this figure up? We will happily print a link.

SJP: Over 50% of our members wish to receive alerts for and to be able to apply for unpaid roles. We're a membership led organisation - at present our members want to know about all positions. So we're happy to tell them about as many opportunities as possible - paid and unpaid – as long as the information is accurate. It's up to our members to decide what to apply for and what to ignore. We do not wish to diminish their choices. And, of course, our members can change their profile settings to only display and receive alerts about paid work.

We are also conducting an on-going survey of our members, particularly with a view to how they got into the industry, and you can see unedited results here: www. s ta g e j o b s p r o . c o m/ uk / casestudy.php.

What's interesting is that many people not only have progressed through unpaid internships, but feel these internships are a natural learning curve, an opportunity - not so much for theatre companies and venues to gain free labour (i.e. exploitation), but for people to gain some hands-on experience and make contacts.

CUELINE: Do you feel it is fair to charge your members a fee when some of them have no realistic chance of ever securing paid work, because of the prevalence of such free "jobs" on this

Christmas 2011 and other sites? Are there more free or low pay jobs advertised than this time last year? Or year on year?

SJP: In terms of the subscription fee, the vast majority of our members are on the standard service which we provide entirely free, and which gives them a profile in our online directory which is by far the largest directory of professionals working in UK theatre, and various online resources to aid them in their careers. Currently around 75% of the positions we advertise are paid.

We have seen massive growth in the number of both paid and unpaid opportunities posted over the site in the past two years - because we're still growing rapidly.

CUELINE: Would you be willing to consider committing to not accept adverts from companies that pay their actors, but not their stage man age me nt? Equa lly from companies that receive public funding, yet still do not pay their stage management or crew?

SJP: Acting alone won’t address or deal with this issue. There are still plenty of places unpaid jobs are promoted and advertised, including many of the leading websites and publications. Us acting alone on this issue will not really resolve any of the problems, particularly when the majority are still interested in knowing about and applying for unpaid positions.

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CUELINE: Do you accept the possibility that the more of this type of "job" that is advertised-will only encourage more companies that used to pay properly to join the non-payers?

SJP: No we would not agree with that. I think it is universally accepted that if a technician has a choice of two similar roles, they will take the paid role over the unpaid role. As we move towards 2012 and we see an increasing shortage of talented technicians, companies are going to have to pay in order to secure the talented professionals.

CUELINE: Would you consider the possibility of insisting that companies post an agreed minimum fee (at least

hourly minimum wage) for jobs or are not allowed to advertise? Would you agree this might start to ensure companies pay fairly?

SJP: We believe all this would do is hide the issue. By stopping these companies from advertising their roles on our system, they would simply place them elsewhere. And we do believe there is a place for voluntary roles and internships.

MASSIVE THANKS TO SIMON DALE AND JENNI ARMSTRONG AT SJP FOR THEIR TIME AND HELP ON THIS TRICKY SUBJECT.

There Is An Opposition !

A

number of paid jobs out there.

That's why the fringe exists.

Someone wants to make a show; they make a show. What freedom!

RM: I think 'free jobs' have definitely got a place. If the company had money to pay, they would. If you weren't allowed to put a show on without fully paying people, then most fringe theatres would close. That wouldn’t increase the

SM: Firstly I agree there are too many theatre companies paying Stage Management badly, we are undervalued and that needs to change. However I think there is a place for free/low paid jobs, these are for students and very recent graduates.

SS: I never worked for free in theatre after graduating and that's because I felt, green as I was, that I'd earned the right to be paid for my skills, but I did take some lowpaid filler jobs at the time, to build up the CV.

nd we don’t mean to the Tories.

In the interests of democracy, Cueline has had a look at whether anybody thinks opportunities are a valid part of our industry and, completely understandably, some of you do. Unpaid jobs present a huge topic, with many opinions, here are some of them from myself, Rebecca Maltby, Simon Sinfield and a respected SM who wishes to remain anonymous. I have, with great originality called her SM. AB: What do you think of free “jobs?”

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AB: Do you think that it is necessary to work these jobs to make good industry contacts?

RM: I absolutely agree that if cast are paid then the SM should be paid. It's a disgrace not to.

RM: When I wanted to get experience of working in theatre I desperately wrote to theatres all over London and only got a response from Battersea Arts Centre.

And that one job is responsible for my entire career. If there was a place that advertised 'opportunities' when I was younger, I would have been delighted.

AB: That answer is pretty unequivocal then! So is there a place in the industry for unpaid jobs?

SM: Like it or not contacts and experience count in this industry. The first few professional credits on the CV are vital and difficult and initially (for a short time) I don't think people can be choosy. Getting the first few gigs is only going to be harder if the only jobs advertised are those reasonably well paid ones where you are competing with those that have 3 years’ experience.

SS: It's different if you are an actor or designer or anyone on the creative team, in the early stages of your career.

It's much harder to build up a good CV in those fields and you almost certainly will do some free or profit-share gigs to kick off. In conclusion, I'd certainly understand actors working for nowt or profit-share on the Fringe, but techs should always be paid - even with a token fee.

SM: There are certain fringe companies that have a good reputation and it won't hurt your CV to work for them when you’re 21.

I'm not saying it's a perfect system, but I think there is a place for these jobs.

RM: So many fringe shows are profit share and that's the same whether actor (famous or not), stage management or designer. I have no problem with that. I've seen many amazing shows - they would simply not exist if everyone had to be paid.

AB: I am not sure I agree that fringe can’t pay. So what does the future hold in regards to unpaid jobs?

AB: I have come across jobs that pay the cast and not the stage manager. Is this okay?

RM: I think you learn a hell of a lot working on a profit share show that cannot be taught on a course. I personally would argue scrap the drama school courses and bring back apprenticeships. And not just in theatre. There are many pointless 'degrees' out there that just make a mockery of University education...

SM: No - paying cast and not stage management is disgraceful and I definitely do not support that!

AB: I definitely agree with that last bit! Thank you all very much for your time.

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Arts Council - Their Right to Reply

I

n the same way that we asked SJP a series of (hopefully) probing questions, we finally got a reply from the Arts Council. Whilst it is perhaps a bit less specific in relation to the questions it does at least seem like a step in the right direction. Thanks loads to Asha Budhu at the Arts Council for persevering for so long in getting us this answer.

1) Does the Arts council feel that advertising unpaid jobs is beneficial to its users and to the role it carries out?

2) As a publically funded body, should you not have an obligation to only offer real paid work?

3) Would the arts council be willing to make a stand, with other organisations, that all such "jobs" must be paid at least national minimum wage?

4) Would you be willing to consider committing to not accept adverts from companies that pay their actors, but not their stage management?

5) Equally from companies that receive public funding, yet still do not pay their company?

6) Do you accept the possibility that the more of this type of "job" that is advertised-will only encourage more companies that used to pay properly to join the non-payers?

7) Do you feel that "employers" are using your service to exploit your users?

A spokesperson for Arts Council England said:

“One of the Arts Council’s goals is to create a diverse and highly skilled arts workforce. To achieve this aim we need to make sure working in the arts is seen as a sustainable, long-term career for people of all backgrounds.

The Arts Council recognises that there is great value in people having access to proper work experience, where it is offered and arranged in a proper format and is a mutually beneficial arrangement.

However this should never be used to circumvent National Minimum Wage Regulations.

To educate users about National Minimum Wage Regulations and to help ensure that only opportunities that were within these regulations were posted, we have a set of mandatory questions on the ‘unpaid’ section of our Arts Jobs website. We also have a ‘report an advert’ function so that users can alert us if they believe an opportunity contravenes National Minimum Wage Regulations.

Later this year we will be publishing guidelines setting out the legal obligations of arts organisations who offer internship opportunities.

We hope this will help arts organisations to offer high-quality employment opportunities to a new generation of future arts leaders”.

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Curve, Leicester

By David Evans, Head of Production, National Theatre of Wales

I

have just returned from Curve in Leicester. It does have a silly name doesn’t it?

I can sense your mind wandering already, as a lot has been written about this venue and very little of what has been written is positive, and while I am loath to add to this subject I think that it is worth pointing out that there is much to be positive about.

It was interesting to at last spend time in a venue that I knew so much about and yet had not actually worked in. I have sent shows there and have visited the space to recce it (how do you spell that word?) but until now I had not put a show in there myself.

It is a challenging venue, but for all its peculiarities it has a great stage, and a comfortable auditorium, there is generous wing space, lots of flying bars, lots of equipment and a fantastic rehearsal room, yes the dressing rooms are separated from the stage by a public corridor and yes there is no real backstage area. But is this really so traumatic? It is something to moan about, but not something to get upset about. As a performance space it works very well, and from a user’s perspective we just have to find a way to live with its eccentricities, just as the staff are doing.

The architect has not reinvented theatre as he claimed, and I would be very surprised if anybody else copies this format, or if the architect is invited to build any more theatres, but it does provide Leicester with a fine stage.

This was all in marked contrast to the village hall that I visited the previous week. With a maximum seating capacity of less than 150, with stacking chairs stored in a cupboard next to pre-school toys and fold-out tables this village hall is the pride of the local inhabitants.

The volunteers who run the space showed us around pointing out particular points of interest and apologizing for the venues seeming inadequacies. Yet this venue is used by the whole village, children’s parties are held there, lectures are given, table top sales are held monthly, amateur shows are staged and very rarely professionals might be invited to turn up.

Both venues cater to the needs of their local communities, a small village does not need a large specialist venue where large productions can be staged, nor does a city need a multipurpose venue that can meet the needs of everyone. Both venues in their own way answer the needs of their communities.

Yet one venue generates pride and the other public bewilderment. Why is this? No doubt the reasons are complex, but I think that one point is ownership. In the village, the hall is looked after and cared for by the community who know that its survival is dependent entirely upon them. Whereas in Leicester the

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venue feels imposed, it sits like an alien construction within the landscape, it has yet to settle into the city and the population has yet to take it to their heart. In time I am sure that they will, but in the meantime there is an air of confusion about its presence.

As a performance space Leicester Curve is fine, perhaps more than fine, but as a venue there are problems.

However, as it is now firmly established

on the touring circuit we need to find ways of working to solve those problems and working willingly in this new venue. Village halls on the other hand do not need explaining or solving, we know why they are there and we should celebrate their presence and the commitment of the volunteers who keep them open.

IN THE SPIRIT OF THE SUPERMARKETS, XMAS COMES EARLY COURTESY OF FLYMAN Reprinted with the kind permission of The Stage

L

ast Christmas we supplied our very own pantomime version of the Twelve Days of Christmas. This proved very popular and we understand that it was sung in green rooms across the land well into January.

So this year we have prepared some backstage carols for you to sing to well known Christmas carol tunes.

While wardrobe washed the socks by night, All gathered round the tub, The deputy SM appeared Returning from the pub.

'Fear not' said he (for mighty dread Had caused a nervous cough); 'Glad tidings of great joy I bring The matinĂŠe is off'.

'All glory be to ATG', They cried and left their posts.

'At last we'll get a good night's sleep No longer look like ghosts'.

Away on a tour date, no hope of a bed, The Company Manager felt like he was dead.

The stars in the bright sky looked down on the 'out' The wagon doors closed and the crew gave a shout.

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Christmas 2011

For him it was driving far through the dark night, His mind on next morning and the time to re-light.

And soon he arrived at the next week's dock door, With a smile and wave as he started week four.

I saw three actors going home, going home, going home.

I saw three actors going home, On Boxing Day in the evening.

“Where are you off to, now,”, I said, “now”, I said, “now”, I said.

“Where are you off to, now,”, I said, On Boxing Day in the evening.

“We've done the show and we're out of here, out of here, out of here.

We've done the show and we're out of here, On Boxing Day in the evening.”

“But what about the second house?, the second house?, the second house?, But what about the second house?

On Boxing Day in the evening” “Oh b*gg*r, we forgot that one, forgot that one, forgot that one, Oh b*gg*r, we forgot that one, On Boxing Day in the evening.”

And especially for those who toil in the magic world of opera: Hark, the extra chorus sing We're near the end of Wagner's Ring.

Rhinegold and Siegfried have been sung, Walküre, Götterdämmerung.

Joyful all ye techies be, At last we'll get a cup of tea.

Fifteen hours of singing done, None of them gave us much fun.

Hark the extra chorus sing, We're near the end of Wagner's Ring.

And for those who missed it or who need a reminder – here is the Panto version of the Twelve Days of Christmas On the twelfth day of Christmas my truelove gave to me: Twelve shows a week Eleven flown backcloths Ten local children Nine coloured flashpots Eight yards of beanstalk Seven dwarves for Snow White Six lovely dancers Five gold eggs Four Shetland ponies Three transformations Two brokers men And a soap-star off the TV.

Happy Christmas and a Great New Year!

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Christmas 2011

Gentlemen, Cross Your Legs And Do Not Read The World Of Weird And Wonderful Props We all often have to make some strange and wonderful things. We asked around for some of your most interesting props and you lovely people obliged here are the best of them.

FLAMING MEN I needed to make male genitalia that got thrown onto a BBQ (sorry if this has got you cringing, we had a great production meeting discussing possibilities) and yes it did need the smell and sizzle. Solutions suggested were to use sausage meat and a mould. My worry was how to keep the shape when it was being extracted from the actor’s trousers!! We came up with 2 solutions;1st - is tin foil and ham - so the tin foil is moulded into a suitable genital shape and then wrapped in wafer thin ham and held together with a bit of blue string (helps to create veins) and then soaked in blood! We used Medium thickness from RC-Annie.

2nd - is just a piece of offal (kidneys/ slice of liver). Less exciting as a SM to make each night but it works all the same and gets an audience reaction. Again soak it in blood! Also it helps to have ensemble who can palm these items out of large pockets in their costume effectively and unseen. My personal favourite is the tin foil and ham.

Thanks to Liz Fielding WE’LL LET YOU MIAOW One of my most challenging props was the cat required for Lettice and Lovage.

I did a tour of this a long time ago for Bill Kenwright. It fell to me to audition new cats at each venue.

The first one, at Theatre Royal Windsor, disappeared under the stage almost immediately never to be seen again, and had to be replaced by an understudy who took more pleasure in being in the lime light.

Once on the road, we would advertise ahead and there would be a line up, with cats of all sorts of shapes, sizes and ages - the best were the rather old, grizzled ones, more inclined to sleep than take much notice of what was going on around them. Marcia Warren, whose character had to pick up and stroke the creature onstage a number of times during the action of the play, did occasionally have to deal with its claws!

I ended up writing an article about the feline auditions for CAT Magazine! Literary fame at last...

Thanks to Diana Fraser

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Christmas 2011

KING TO BISHOP Back in the late 1970s I was ASM on a production of A Man For All Seasons at Exeter Cathedral (Northcott Theatre production) We were struggling to find suitable 'tableware' for a scene in which Henry VIII entertains Thomas More to dinner (or vice versa) and in desperation I mentioned this to the member of the Cathedral staff who was looking after us. "I may be able to help" quoth he, "but I'll have to check with the Dean" Later on he re-appeared smiling. "Follow me" he said, and led me to a strong-room stuffed with gold candlesticks and the like. "You could use these, if you like" says he, indicating an ornate silver claret jug about 18 inches high and four goblets to match. "only you'd have to be ve r y careful wi t h them as they are quite va l u a b l e " I trotted out all the things we always say on these occasions about not letting down people who help us, respect for private property, insurance, etc.

"You see," he says, "they were a personal gift from King Charles II to the 43rd Bishop".

I turned pale, thanked him profusely, and we did use them, without mishap.

We turned a blind eye to the fact that they were not quite right for period!

Thanks to Chris Bagust IF YOU ASK YOU WILL RECEIVE Years ago I needed a stenography machine which I thought would be a bit of a challenge so naturally sent out lots of emails to see if I could get someone to bite - BBC subtitling dept., courtroom individuals, company/organization etc. Of course I had no money so wrote quite pleading requests. So much so that when people responded positively, I hadn't the heart to back down and say I'd got one and didn't need another (it went against the desperate tone of the email), so I thanked them profusely for their kindness and ended up with 3 of the bloody things.

Thanks to Rebecca Maltby BAKED TORTOISE, SIR? On my first professional job at Norwich Playhouse we did Tom Stoppard’s Jumpers. I had to make a tortoise that could be stood on and killed!

Every night I went home and cooked a new shell to put on a body and sponge of blood every day so Tim West could stand on it and it would go “splat”!

Thanks to Rebecca Emery

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A FILTHY JOB! I worked on a show years ago which was a challenge in terms of props.

I needed to be able to create shit - literally! One actor had to wipe another actor's ass with newspaper and the audience had to see the contents!

I tried various things but the best method was cheap chocolate brownies mixed with a bit of water. It looked very realistic!

For this show, I also had to go and buy porn magazines for the wanking scene - the things we do for our job!

The show was about a Muslim man being kidnapped. During rehearsals, the director wanted to replicate the kidnapping so the actors could experience the violence etc. of it all. I found myself being the getaway driver with a man in the back blindfolded, gagged and hands tied!!

Thankfully, no-one seemed to notice and we got away with it!!

Thanks to Jane Lalljee A BIT OF A BOOB As an ASM I was sent to Transformations in Euston to acquire the fake (but realistic) boobs for Alan Bennett's Habeas Corpus. The staff at "The World's largest shop for Transvestites" kindly refused my explanation that these were a) for a play and b) for a character in that play, and insisted on fitting them for me. I later left the breasts at a tour venue and had to courier them over. I felt like a bit of a tit!

Thanks to Simon Sinfield A SWIFT EXIT I never really had to come up with any wildly unusual props - for the average SM providing severed limbs, a shooting star and pickled onions in jars of tea jelly (no liquids onstage!) is all fairly run-of-the-mill.

However, there was the memorable time when I was trying to prop false breast enhancers (I think they're known as 'chicken fillets') for a production of Carmen and after initial enquiries as to whether they stocked them, was asked to leave the ladies' lingerie department of John Lewis!

Thanks to Paul Grist ED: and I think on that note, we’ll leave it there, Paul. Thanks to everyone who contributed to this issue.

A Very Merry Christmas and a Well-Paid Busy 2012 To All Our Readers

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SMA NOTICEBOARD NEW PROFESSIONAL MEMBERS Jason Mills, Hazel Chloe Morris, Amy Clarke, Kayleigh Heathcote, Eme Cruse, Emily Louise Palmer, Stevie Haighton, Hayley Craven, Michelle Duncan GRADUATE MEMBERS Charlie Archer, Claire Little, Catherine Lewis, Rhiannon Rutley, Laura Smith, Claire Bamford, Georgia Louisa Bird, Ella Bolton, Hatty Hay, Laura Jarvis, Jennifer Lloyd-Smith, Charlie Storey, Jess Davies, James Ford-Bannister, Helen Fletcher, Jasmin McGarrell, Penny Rischmiller, Sophie Sierra, Emily Simmons, Dave Armstrong, Natalie Bengoechea, Daniel Haynes REJOINS Kimberley Brewin, Melanie Bryceland, Fay Mansfield, Samantha Mallinson, Charlotte Willis, Martin Lightfoot (Assoc), Titch Macleod, Trevor Mitchell

MEMBER S WITH EMAIL Any memb er w email addr ho has an e Freelist, w ss on the ill beco Email Mem me an ber.

If you are n o t o n the Freelist bu t have an e ma address an d would lik il e to become an Email Mem ber PLEASE L ET US KN OW!

BLUEFORM REMINDERS Deadline for receiving Blueforms for the Freelist is end of day on 7th of each month.

Blueforms can be downloaded or you can use the online Blueform, both via our website.

Also, please remember that in order to keep the Freelist as current as possible, it is no longer possible to request inclusion for 2 months. However, if your details are the same, you can send us a quick email to request inclusion for the next month instead of filling in another Blueform.

*NEW* If you get a job during the month, let us know and we’ll remove you from the list as it is requested from the office throughout the month.

2011 National Awards for Stage Management Individual Award STEPH CURTIS CSM and SM National and International tour ‘The Red Shoes’ and ‘The Asylum’ Kneehigh Theatre

Cueline September 2011 Volume 26 Number 5 Stage Management Association 89 Borough High Street London SE1 1NL T 020 7403 7999 W www.stagemanagementassociation.co.uk E admin@stagemanagementassociation.co.uk Company limited by guarantee (England & Wales) Reg No 3819176