|
|
Post by Deleted on Sept 25, 2018 8:53:43 GMT
Yes, seems to be based on the number of performances in 6 months, and this was only a 3 month run. There are also restrictions on the number of consecutive days of performances. Plus, do the Young Vic have understudies? If they don't, that would reduce the number of "teams" needed - you'd need 3 to provide understudies for the other two along with rest days.
|
|
879 posts
|
Post by daisy24601 on Oct 1, 2018 17:25:41 GMT
Do actors meet other potentials at auditions, i.e know who they're up against? And do they meet people they'll be working with, for example do an audition with someone their character is in a relationship with to see if they work well together?
|
|
2,452 posts
|
Post by theatremadness on Oct 1, 2018 18:20:33 GMT
Do actors meet other potentials at auditions, i.e know who they're up against? And do they meet people they'll be working with, for example do an audition with someone their character is in a relationship with to see if they work well together? Yeah, it's extremely common to meet the people you're "up against" (some actors would put it like that, some actors wouldn't) throughout all stages of the audition process, and if the part requires a specific chemistry with another character, there will often be times you will read/audition with that other person, but not all the time. As for meeting the people you're working with, well if you know someone else who is auditioning, it's almost certain you'll be chatting with them and asking if either of you have heard anything but quite a lot of the time, you won't find out the rest of your cast until maybe there's an email from the Company Stage Manager, or a press release before rehearsals begin, or sometimes even on the meet & greet on the first day. Sometimes you find out you *didn't* get a job by seeing the press release of a cast announcement of a show you auditioned for! It's all fun and games. |
|
879 posts
|
Post by daisy24601 on Oct 2, 2018 14:20:00 GMT
Do actors meet other potentials at auditions, i.e know who they're up against? And do they meet people they'll be working with, for example do an audition with someone their character is in a relationship with to see if they work well together? Yeah, it's extremely common to meet the people you're "up against" (some actors would put it like that, some actors wouldn't) throughout all stages of the audition process, and if the part requires a specific chemistry with another character, there will often be times you will read/audition with that other person, but not all the time. As for meeting the people you're working with, well if you know someone else who is auditioning, it's almost certain you'll be chatting with them and asking if either of you have heard anything but quite a lot of the time, you won't find out the rest of your cast until maybe there's an email from the Company Stage Manager, or a press release before rehearsals begin, or sometimes even on the meet & greet on the first day. Sometimes you find out you *didn't* get a job by seeing the press release of a cast announcement of a show you auditioned for! It's all fun and games.I've heard that, that's really crappy! Thanks for the info. |
|
316 posts
|
Post by martello736 on Oct 6, 2018 14:37:05 GMT
This isn't really an amnesty question but I also didn't really feel it was worth its own thread so I thought I'd ask it here. Does anyone know what the record is for the most shows a composer or playwright has ever had on in the West End simultaneously is? I'm almost certain we had this discussion a couple of years ago but I can't remember what the answer was, or indeed if it's changed since then. I feel it's probably Andrew Lloyd Webber who holds the title but I'm not entirely sure.
|
|
4,179 posts
|
Post by HereForTheatre on Oct 6, 2018 15:58:30 GMT
Just lately at curtain calls I've noticed the cast point towards the circle/grand circle for the audience appluase in the save way they do for the orchestra down in the pit. What'a that for then? I'm sure it's only something I've noticed recently.
|
|
|
|
Post by partytentdown on Oct 6, 2018 16:05:00 GMT
Just lately at curtain calls I've noticed the cast point towards the circle/grand circle for the audience appluase in the save way they do for the orchestra down in the pit. What'a that for then? I'm sure it's only something I've noticed recently. It's a nod to the technical crew, traditionally where the light and sound boxes are. |
|
|
|
Post by firefingers on Oct 6, 2018 23:43:06 GMT
Just lately at curtain calls I've noticed the cast point towards the circle/grand circle for the audience appluase in the save way they do for the orchestra down in the pit. What'a that for then? I'm sure it's only something I've noticed recently. It's a nod to the technical crew, traditionally where the light and sound boxes are. Yes which I usually find funny because pretty much all the tech team aren't there but backstage so a gestures to the wings would surely be more appropriate. Been mixing sound at the back and have the cast indicate to me and so felt like the applause was all for me but never know what to do and just look incredibly awkward. |
|
19,782 posts
|
Post by BurlyBeaR on Oct 8, 2018 11:09:53 GMT
What’s going on with that Korean Fruit Tea thing on Shaftesbury Avenue? There was a permanent and very long queue every time I went past it the other weekend, with excited looking Korean (presumably) people patiently waiting for whatever it is. They were doing a roaring trade from what looked to be a passageway with a serving counter stuck on the front. What gives?
|
|
449 posts
|
Post by SageStageMgr on Oct 8, 2018 18:52:27 GMT
Usually it goes on the total number of performances in a given time frame - a child licenced by a particular local authority may be allowed to play 75 shows in 365 days, for example. It was a fairly short run at the Young Vic, so they probably got children with that kind of long licence permission to do it. Some play the system, too, and licence the kid in one local authority (where they live) for half the time, then get a fresh licence in another authority (the one they go to school in, say) for the rest. I think the number of hours schooling plays a part, but applies to term-time, and this run went through the school holidays, which helped. Can confirm having worked with children extensively. |
|
449 posts
|
Post by SageStageMgr on Oct 8, 2018 18:53:13 GMT
Just lately at curtain calls I've noticed the cast point towards the circle/grand circle for the audience appluase in the save way they do for the orchestra down in the pit. What'a that for then? I'm sure it's only something I've noticed recently. Hello! We make the show work *waves* |
|
449 posts
|
Post by SageStageMgr on Oct 8, 2018 18:58:26 GMT
Both, either, case by case. I guess as a rough generalisation, agents are more likely to have a biog on file for established actors, while newer actors or those acting in smaller productions are more likely to be asked to email one over. If you work for the same company like say the RSC a lot they probably just re-use the same one. (I noticed Chris Eccleston's bio pointedly doesn't include what many would consider one of his best known-roles, I'd love to know if that's him being petty or his management being diplomatic.) I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. |
|
|
|
Post by Deleted on Oct 8, 2018 19:34:49 GMT
Both, either, case by case. I guess as a rough generalisation, agents are more likely to have a biog on file for established actors, while newer actors or those acting in smaller productions are more likely to be asked to email one over. If you work for the same company like say the RSC a lot they probably just re-use the same one. (I noticed Chris Eccleston's bio pointedly doesn't include what many would consider one of his best known-roles, I'd love to know if that's him being petty or his management being diplomatic.) I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. Yep. Anyone who's watched an episode of Toast of London could confirm. |
|
449 posts
|
Post by SageStageMgr on Oct 8, 2018 19:37:16 GMT
I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. Yep. Anyone who's watched an episode of Toast of London could confirm. Had to Google it... but wow, how have I missed that show? Gone straight to my “to watch” list! |
|
|
|
Post by Deleted on Oct 8, 2018 19:38:52 GMT
Yep. Anyone who's watched an episode of Toast of London could confirm. Had to Google it... but wow, how have I missed that show? Gone straight to my “to watch” list! Oh you've missed out. It's great! Love it. Just had to watch a couple of youtube clips and now howling with laughter again. I was going to post a clip for Actor/Agent interaction, but given you've not watched it, I'll hold off! |
|
1,127 posts
|
Post by samuelwhiskers on Oct 8, 2018 20:30:23 GMT
Both, either, case by case. I guess as a rough generalisation, agents are more likely to have a biog on file for established actors, while newer actors or those acting in smaller productions are more likely to be asked to email one over. If you work for the same company like say the RSC a lot they probably just re-use the same one. (I noticed Chris Eccleston's bio pointedly doesn't include what many would consider one of his best known-roles, I'd love to know if that's him being petty or his management being diplomatic.) I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. From my rather more extensive experience, that is not entirely accurate. An awful lot of roles don't go through CDs at all, and of course agents oversee a client's career in general, oversee headshots and showreels, pitch clients for auditions, set up meetings, etc. |
|
4,156 posts
|
Post by kathryn on Oct 9, 2018 9:09:12 GMT
I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. From my rather more extensive experience, that is not entirely accurate. An awful lot of roles don't go through CDs at all, and of course agents oversee a client's career in general, oversee headshots and showreels, pitch clients for auditions, set up meetings, etc. It'll depend on the agency and the client. Certainly in the film world agencies are very powerful - they 'package' up film offers (scriptwriter, director, and stars will all be their clients) and then offer them to the studios as a deal. |
|
316 posts
|
Post by martello736 on Oct 9, 2018 9:55:01 GMT
Okay, I have a question, what does someone like Cameron Mackintosh actually do day to day? He produces a lot of stuff, but what does that consist of? Finding rich people to hand over their cash and getting directors and set designers and things to come on board? Whatever it is he makes a lot of money from it  |
|
|
|
Post by Deleted on Oct 9, 2018 10:04:57 GMT
Both, either, case by case. I guess as a rough generalisation, agents are more likely to have a biog on file for established actors, while newer actors or those acting in smaller productions are more likely to be asked to email one over. If you work for the same company like say the RSC a lot they probably just re-use the same one. (I noticed Chris Eccleston's bio pointedly doesn't include what many would consider one of his best known-roles, I'd love to know if that's him being petty or his management being diplomatic.) I’ve worked (briefly) for a well known theatrical agent. From my (albeit) limited experience, seems to me the agents do little more than get the actor work. They are the “contact” to the casting directors, who send the headshots and try and secure the performer an audition - nothing more. Oh how lovely. So agents are like theatrical pimps. I wonder, do they have to wear garish fur coats and have goldfish in the heels of their shoes or are they more relaxed in London's glitzy West End? |
|
19,782 posts
|
Post by BurlyBeaR on Oct 10, 2018 18:58:10 GMT
Okay, I have a question, what does someone like Cameron Mackintosh actually do day to day? He produces a lot of stuff, but what does that consist of? Finding rich people to hand over their cash and getting directors and set designers and things to come on board? Whatever it is he makes a lot of money from it The higher up you get, the less you do. This is a fundamental principle of business. He delegates. What is interesting about him is that we have documentary evidence of him poking his nose in massively to certain productions. Good on him. |
|
1,133 posts
|
Post by Stephen on Oct 10, 2018 23:23:21 GMT
Okay, I have a question, what does someone like Cameron Mackintosh actually do day to day? He produces a lot of stuff, but what does that consist of? Finding rich people to hand over their cash and getting directors and set designers and things to come on board? Whatever it is he makes a lot of money from it The higher up you get, the less you do. This is a fundamental principle of business. He delegates. What is interesting about him is that we have documentary evidence of him poking his nose in massively to certain productions. Good on him. Yes. He has a funny habit of shouting "have you never seen Oklahoma?" Or similar at creative teams. Much as I would struggle to work with such a personality involved the production numbers that he pokes his nose into are always fantastic IMO. |
|
7,183 posts
|
Post by Jon on Oct 10, 2018 23:32:14 GMT
The thing about Cameron is that he’s just doing what many producers do on a regular basis and while he does meddle, there’s no denying that his track record is impressive. When you have investor’s money on the line, you can’t afford to be complacent
|
|
|
|
Post by Deleted on Oct 12, 2018 12:29:36 GMT
One that I've thought about and have just wondered is where do they get the hair from to make the wigs as most of the time it is real hair but is it donated from people or from hairdressers or from somewhere else ?
|
|
|
|
Post by welsh_tenor on Oct 22, 2018 18:28:43 GMT
So a follow-up question... what happens as a Standby? Do they get counted the same as ensemble plus U/S rate? I can’t see a specific reference to Standbys? Also would an agent be able to negotiate any extra as part of a contract if a Standby goes on to cover a principal role for an extended period of time? |
|
213 posts
|
Post by l0islane on Nov 2, 2018 12:45:49 GMT
Hi, I have a couple of questions: Do performers receive sick pay if they don’t perform? Does their pay get impacted if they are off for a night or two or for a prolonged period? Why do the cast/crew of shows only seem to get told that shows are closing at the very last minute (often literally minutes before the press release goes out)? I assume they are scared of the information being leaked but cast and crew have to keep secret that they are working on shows before they are announced, can’t they be trusted to be told at least a day or so before the official announcement so they can prepare themselves for all the questions and social media onslaught from fans etc.? Thanks  |
|
