Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 14414470; Sun, 16 Jan 2005 03:01:20 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #261 Date: Sun, 16 Jan 2005 03:01:11 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #261 1. Re: RIP Bill McManus by "Rob Carovillano" 2. Re: RIP Bill McManus by Bill Sapsis 3. Ron Epp by "Stephen E. Rees" 4. certified product analyst (was shock loading) by Theatre Safety Programs 5. Re: Quick Links by FrankWood95 [at] aol.com 6. Re: certified product analyst (was shock loading) by FrankWood95 [at] aol.com 7. Re: Caribeners (was quick links) by Bill Sapsis 8. Re: USITT by "Adam Janzen" 9. Re: Caribeners (was quick links) by "ladesigners [at] juno.com" 10. Re: Caribeners (was quick links) by Dale Farmer 11. Re: Caribeners (was quick links) by Bill Sapsis 12. Re: Caribeners (was quick links) by Mark O'Brien 13. Re: Artist Management (OT) by Richard Bakos 14. Stage Manager Interviews by June Abernathy 15. Re: Stage Manager Interviews by "Matthew Breton" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Message-ID: <001101c4fb15$bf11b430$a8a44481 [at] rcarovil> From: "Rob Carovillano" References: Subject: Re: RIP Bill McManus Date: Sat, 15 Jan 2005 10:20:28 -0500 Having McManus Enterprises right around the corner has been a godsend. From my many visits there I came to appreciate all that Bill had done for the industry. For those that know, had he been sick or was this rather sudden? On a different note I believe I had one of Bill S.'s 55 gal fog machines in here about 4 years ago. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: Bill Sapsis To: Stagecraft Sent: Friday, January 14, 2005 3:37 PM Subject: Re: RIP Bill McManus For info, archives & UNSUBSCRIBE, see --------------------------------------------------- on 1/14/05 1:15 PM, Dr. Randall W.A. Davidson at doomster [at] worldnet.att.net wrote: > I found this on a Internet discussion group.. > > > "Bill McManus passed away last night. > Those of you who do not know who he is, Bill had the lighting Contract > for HBO Boxing and for Showtime Championship Boxing for many years. > Bill was the man who invented TV Lighting for Boxing. > Bill was the man who lit the 'Thrilla for Manila" w/ Ali. > I also understand that Bill was the first touring lighting company for > the "Who". Bill also had the "Kiss" account back in the 70's when they > were huge. > Bill was the man who employees "Jack 'Jack the Rigger' Warlitner, the > first man to invert a CM Chain hoist to fly a truss." > > Just thought I would pass this along. Wow. Talk about the passing of an era. I worked for Bill back in the 70's. Built 55 gallon fog machines. They're probably still floating around in the shop somewhere. He did indeed help start it all back in the 60's & 70's. "And so it goes". Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Date: Sat, 15 Jan 2005 11:00:05 -0500 Subject: Re: RIP Bill McManus From: Bill Sapsis Message-ID: In-Reply-To: on 1/15/05 10:20 AM, Rob Carovillano at rcarovillano [at] verizon.net wrote: > Having McManus Enterprises right around the corner has been a godsend. From > my many visits there I came to appreciate all that Bill had done for the > industry. For those that know, had he been sick or was this rather sudden? > > On a different note I believe I had one of Bill S.'s 55 gal fog machines in > here about 4 years ago. The word I got was pancreatic cancer. But he had had some problems for a little while. The fog machine still worked? Cool. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <41E94037.5010700 [at] fredonia.edu> Date: Sat, 15 Jan 2005 11:09:27 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Ron Epp References: I'm very sorry to learn of his death. I only met him a couple of times during backstage and shop tours at Shaw Festival but enjoyed his talks and the results of his work on many shows. My condolences to his family. Steve Rees, TD SUNY-Fredonia Scott Spidell wrote: > And on sad note, today is the funeral for Ron Epp. [snipped] ------------------------------ Message-Id: <6.2.0.14.2.20050115100604.0200b558 [at] mail.earthlink.net> Date: Sat, 15 Jan 2005 10:07:39 -0700 From: Theatre Safety Programs Subject: certified product analyst (was shock loading) Exactly what is a certified product analyst and who certifies them?? Jerry Gorrell ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 15 Jan 2005 13:29:50 EST Subject: Re: Quick Links In a message dated 15/01/05 04:06:54 GMT Standard Time, flyingfx [at] hotmail.com writes: > Bill will probably say (and correctly so) that caribiners that are meant for > climbers are NOT rated for industrial use of any fashion. There are steel > caribiners that are rated for industrial use. Know which is which. When I was climbing, if I came off near the top of a 50' pitch as leader, I would fall 100' before the rope and the second stopped me.Even allowing for the elasticity of the rope, that's a big shock load. I think the difference is between personal safety equipment, on which you may have to bet your life, and whose history and care you know, and industrial equipment which may be used by any Joe Soap. With the latter, it may have been used for a task beyond its design strength, twisted, or heaven knows what. And, it's not your own life you are betting, it's that of the rest of the cast and crew, perhaps. Other than the design stresses can arise at rigging and get-out times. I once had rigged a big light-box, with four 1KW tubular lamps and four stained glass windows. Our Master Carpenter built it, rather more heavily than I should have, and we rigged it carefully and it hung in peace through the run. At the get-out, the crew were more enthusiastic than skillful. They got it on a slant while lowering it, and the cable fastenings pulled out. By the Grace of God, nobody was under it, but it took three planks out of the stage floor. The flat hangers were fixed with three #8 woodscrews. Fine in pure shear, but not too good otherwise. You allways have to consider what the ham-fisted may do. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sat, 15 Jan 2005 13:43:15 EST Subject: Re: certified product analyst (was shock loading) In a message dated 15/01/05 17:08:23 GMT Standard Time, theatresafe [at] jgorrell.com writes: > Exactly what is a certified product analyst and who certifies them?? A good question. I assume that your local Health and Safety authority figures. Maybe the Underwriters Labs. But, if they are certified, that implies that they know what tests to carry out, have the neccessary equipment and skills, know what the pass-fail limits are, and so on. That is presumably for the certifying authority do decide. Frank Wood ------------------------------ Date: Sat, 15 Jan 2005 16:10:11 -0500 Subject: Re: Caribeners (was quick links) From: Bill Sapsis Message-ID: In-Reply-To: June is right. There's a lot of variety in caribiners. Here's how I deal with them 1) Fall Arrest The only caribiner permitted in a Fall Arrest system must be an auto-lock type that requires at least two motions to open it. Manual screw locks are not permitted. 2) Rigging there are two applications for caribiners in the rigging business. The first would be taking the bucket with the coffee inside up to the high steel riggers during breaks. The second would be bringing the bucket back down with the results of taking the coffee up to the high steel riggers. Caribiners work well when used absolutely and positively, 100% in their proper orientation and with all of their parts working absolutely and positively, 100% properly, 100% of the time. If you install a caribiner just a teensy bit wrong or leave the gate latch just a tiny bit open or side load the thing just a smidgen, then the device will fail. I have photos of failed biners I use in my seminars. Devices rated for 3000kg that failed at 200kg. Pretty spectacular, as long as you aren't standing under the load. And there's another really good reason not to use caribiners. We have these devices called shackles. They are load rated and are designed for use in lifting applications. A 5/8" CM screw pin anchor shackles is rated for 3.5 tons. It costs somewhere in the neighborhood of $10 -$12. (I could look it up but I'm on dialup in a hotel in Dallas) Some of the strongest biners I've seen are rated for 2 tons. Maybe 2.5 tons. And they cost $45 - $50. I don't know about you but I'd go with the shackle and save the money for a good dinner. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. on 1/14/05 4:45 PM, June Abernathy at jea00321 [at] yahoo.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Felt the need to put my .02 in here. Particularly > since Frank, once again, makes clear that some > nicknames do not jump the pond. > > know. <> > > Caribeaners - real, rated caribeaners meant for > climbers, are also very useful, particularly for > pieces that need to be frequently moved or adjusted. > They come in steel or aluminum, in a few different > shapes, with appropriate load ratings. They spring > closed by themselves. Bill will probably tell you that > most climbing hardware is not legally suitable for > fall arrest. Fall arrest hardware has specific rules > about load limits and locking. > > Fall arrest, and some general hanging situations, need > a locking caribeaner. Fall arrest has specific rules > about how it needs to lock, which is a thread for > another day. There are several types of locking > 'beaners. Some I've seen are: A screw lock, which > works much like the above quick link; A spring collar > lock, which works kind of like a pnuematic connector - > except that you twist as you pull back; or A Ball > release - a little ball that has to be pinched for you > to release - I've generally seen these in combination > with a spring collar. Many folks like the spring > collar because it is passive - it closes and locks > without your help. > > Unfortunately, much like with unrated quick links, > unrated caribeaners ABOUND. Every hardware store, auto > parts store, convenience store, and gift shop in > America has these floating around. These are toys. > They are for keys. Unfortunately, some of them > resemble the real thing a little too well, and I have > seen them used by stagehands for lifting things, which > is a huge no-no. One of my pet peeves. > <> > > > ===== > June Abernathy > IATSE #321 (Tampa, FL) > FOH Electrician > The Lion King National Tour (Gazelle) ------------------------------ Message-ID: From: "Adam Janzen" Subject: RE: USITT Date: Sat, 15 Jan 2005 16:12:12 -0500 Message-ID: <000001c4fb46$e1d19db0$744acc8e [at] CDRW05> In-Reply-To: Hey, Here in T.O., parking can be ridiculous. The closest 'Green P' parking = you can find to the MTCC - http://www.greenp.com/tpa/parkinglocator/CarParks/Downtown/52/52.jsp?LOCA= TOR _OPTION=3D13 . Their rates are: Daytime Mon-Fri (07:00 - 19:00) $2.50 per 1/2 hr to MAX of $17.00 =20 =20 Sat, Sun, & Holiday (07:00 - 19:00) $2.50 per 1/2 hr to MAX of $7.00 per each 12 hour period. =20 =20 Weekday Evenings (17:00 - 07:00) $2.50 per 1/2 hr to MAX of $6.00=20 If you're staying at a hotel downtown, you can walk or take the subway = to Union Station and walk ($2.25CDN fare). Adam -----Original Message----- Message-Id: In-Reply-To: References: Date: Wed, 12 Jan 2005 16:47:28 -0500 From: "richard j. archer" Subject: Re: USITT List members, Anybody know what parking costs in Toronto , say at the Convention=20 Center, if I'm not staying at one of the convention hotels? thinking=20 about it now before students arrive back from break. Thanks Dick A TD, Cornell U ------------------------------ From: "ladesigners [at] juno.com" Date: Sat, 15 Jan 2005 21:30:00 GMT Subject: Re: Caribeners (was quick links) Message-Id: <20050115.133059.25248.167375 [at] webmail12.lax.untd.com> The biggest carabiner (or rigging device that is equivilent to one in function and rough appearance)that I have seen was used in conjunction with 40 ton movable, and 100 ton fixed, cranes used to unload ships at the Port of Los Angeles. One person couldn't lift it. I do not know what the rating would be, but it should hold 80,000 lbs+ safety factor. /s/ Richard Some of the strongest biners I've seen are rated for 2 tons. Maybe 2.5 tons. Bill S. ------------------------------ Message-ID: <41E98D31.9A8A6ABD [at] cybercom.net> Date: Sat, 15 Jan 2005 16:37:53 -0500 From: Dale Farmer Subject: Re: Caribeners (was quick links) References: Bill Sapsis wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > June is right. There's a lot of variety in caribiners. Here's how I deal > with them > > 1) Fall Arrest > The only caribiner permitted in a Fall Arrest system must be an auto-lock > type that requires at least two motions to open it. Manual screw locks are > not permitted. > > 2) Rigging > there are two applications for caribiners in the rigging business. > The first would be taking the bucket with the coffee inside up to the high > steel riggers during breaks. > The second would be bringing the bucket back down with the results of taking > the coffee up to the high steel riggers. > > Caribiners work well when used absolutely and positively, 100% in their > proper orientation and with all of their parts working absolutely and > positively, 100% properly, 100% of the time. > > If you install a caribiner just a teensy bit wrong or leave the gate latch > just a tiny bit open or side load the thing just a smidgen, then the device > will fail. I have photos of failed biners I use in my seminars. Devices > rated for 3000kg that failed at 200kg. Pretty spectacular, as long as you > aren't standing under the load. > > And there's another really good reason not to use caribiners. We have these > devices called shackles. They are load rated and are designed for use in > lifting applications. A 5/8" CM screw pin anchor shackles is rated for 3.5 > tons. It costs somewhere in the neighborhood of $10 -$12. (I could look it > up but I'm on dialup in a hotel in Dallas) Some of the strongest biners > I've seen are rated for 2 tons. Maybe 2.5 tons. And they cost $45 - $50. > > I don't know about you but I'd go with the shackle and save the money for a > good dinner. Only two advantages caribiners have is speed of attaching and detaching from the loop, and that they don't have a separate part to drop and lose on the side of a mountain. I have several that I use. They are doing things like holding up keys, keeping the handles on my luggage together, and for attaching one bag of luggage to another. I do have one on a hoisting rope, which is about the only one that actually is being used for designed purpose. Shackles are definitly the way to go for virtually any stage rigging. --Dale ( Who isn't a rigger. I'm too heavy and too unagile to be clambering about up there. ) ------------------------------ Date: Sat, 15 Jan 2005 17:19:01 -0500 Subject: Re: Caribeners (was quick links) From: Bill Sapsis Message-ID: In-Reply-To: on 1/15/05 4:30 PM, ladesigners [at] juno.com at ladesigners [at] juno.com wrote: > The biggest carabiner (or rigging device that is equivilent to one in function > and rough appearance)that I have seen was used in conjunction with 40 ton > movable, and 100 ton fixed, cranes used to unload ships at the Port of Los > Angeles. One person couldn't lift it. I do not know what the rating would be, > but it should hold 80,000 lbs+ safety factor. Thanks Richard. Next time I need an 80,000 # cap.single point biner for a concert I'll kknow where to go. <> Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ In-Reply-To: References: Message-Id: <8BEC8966-6743-11D9-ACC9-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Caribeners (was quick links) Date: Sat, 15 Jan 2005 15:19:39 -0700 On Jan 15, 2005, at 3:19 PM, Bill Sapsis wrote: > Thanks Richard. Next time I need an 80,000 # cap.single point biner > for a > concert I'll kknow where to go. > <> > Bill S. > Think of it Bill, you could rig a 2 truck show with one point. Saves lots of time. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <41E9A486.7050205 [at] StudioOneSB.com> Date: Sat, 15 Jan 2005 18:17:26 -0500 From: Richard Bakos Organization: Studio One Inc. Subject: Re: Artist Management (OT) References: In-Reply-To: from http://www.reelclassics.com/Address/address-list.htm Lena Horne Casterbridge Ltd. Attn: Fan Mail 23 East 74th Street New York, NY 10021 Ms. Horne accepts fan mail and autograph requests at this address MissWisc [at] aol.com wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Thanks Catherine and Boyd! Great resources both. > >The person we're looking for is Lena Horne. I showed excerpts of the film "Stormy Weather" to my music history students as it has a ragtime cakewalk, blues, and Fat's Waller singing "Ain't Misbehavin" in addition to Lena's amazing rendition of "Stormy Weather." I could try to describe the contributions of Afro-Americans to US music in the early 1900s, but it's far easier to just hit play and let them "speak" for themselves. > >Last I heard, Lena was alive. I did a google. One site says she's at the Apthorp apartments on Broadway, but I'm not certain how reliable that info is nor what would happen if we sent a letter to a building with over 100+ apartments in it. > >We'll keep looking! Thanks! > >Kristi R-C > > > > -- Richard Bakos President Studio One Inc. 25833 State Road 2 South Bend, In 46619-4736 VOICE 574-232-9084 FAX 574-232-2220 Rick [at] StudioOneSB.com www.StudioOnesb.com ------------------------------ Message-ID: <20050116054458.98961.qmail [at] web14122.mail.yahoo.com> Date: Sat, 15 Jan 2005 21:44:58 -0800 (PST) From: June Abernathy Subject: Stage Manager Interviews >In a month I will be holding interviews for two >summer non-Equity stage managers. Each of these SMs >will manage two shows. Last summer I hired >two and we had some problems, likely due to my novice >SM-hiring skills and expectations. >This list has helped a lot but does anyone want to >give me 10 questions I should be asking in an >interview? >I have already thought of the rope/knot thread and >the # of knots one might need. ;-)) >Richard Wright >Newman & Wright Theatre Company >Williams Lake and Barkerville, B.C. First, why are your Stage Managers tying knots? The thing with Non-equity Stage Managers is that no one really knows what their job description is. A lot of people think they do, but it actually varies from theater to theater. You may be expecting them to tie knots and pull curtains and paint things, for instance, and they may be expecting to take blocking and call cues. So when they come to work with you, both sides are annoyed and frustrated. Outside of a union situation, where job descriptions are codified, you have to be specific. You may be really clear in your own head about what you expect from your stage managers, but there is really no guarantee that they have the same idea in THEIR heads. You should also be really clear, in your advertisements and in your interviews, what kind of skills you are looking for and what duties you are expecting. You may think it's obvious, but more often than you know, it isn't. Are they doing every other show, so that, in theory, no one is in both rehearsals and performances at the same time? Are they expected to assist the other SM at all? Do they have any assistants (interns, whatever?). Are they taping out rehearsal spaces? Pulling rehearsal props? Scheduling? Taking blocking, prompting, all that? Are they expected to turn in rehearsal reports? Performance reports? Do they schedule production meetings? Host them? Arrange transportation or drive people around? Any technical duties? On deck for the show? Calling cues for the show? Running a light board? Selling soda and candy? Participating in scene shifts? Are they expected at load in and/or strike? Of their shows? Of all shows? Are they expected to undertake any duties for the company outside of rehearsals and performances for their specific shows? What pay are you offering? Are you paying a fee, a weekly salary, a per show rate, or what? Are you paying them for any prep time before their first show? How soon before their first show are you expecting them to arrive, and when do they start getting paid? Do they walk away after the last performance of their last show, or are they expected to help strike, or close up the SM office, or anything else? Do you want their prompt books, or can they keep them? Will your company provide transportation, or reimbursement for travel? Will you provide housing? Shared or solo? Do you provide a computer, or are you expecting them to bring their own? Are you providing an office? Office supplies? The questions you ask depend so hugely on what you want them to do. And on what your problems have been in the past. I think if you can hand them a list of your expectations about their job duties at the interview stage, it will provide excellent talking points for discussion at interviews as well as preventing misunderstandings after hiring. And, even in a non-union situation, I think it would be good for you to write up some kind of formal agreement outlining your terms and their duties, at least in broad strokes, so you both have something to sign that will lay out what is expected and what is required. The less suprises on either side, the better. Hope this helps - ===== June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? All your favorites on one personal page – Try My Yahoo! http://my.yahoo.com ------------------------------ Message-ID: In-Reply-To: From: "Matthew Breton" Subject: RE: Stage Manager Interviews Date: Sun, 16 Jan 2005 02:54:04 -0500 June took most of my responses right out of my mouth. A good starting point (really, this works for any position you're interviewing) is to ask them about their experiences on past productions. How they were involved, what their responsibilities were, and how they integrated with other members of the production team. What they think could have been done better; what skills they would to develop. -- Matt ======= >From: June Abernathy >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Stage Manager Interviews >Date: Sat, 15 Jan 2005 21:44:58 -0800 (PST) > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >In a month I will be holding interviews for two > >summer non-Equity stage managers. Each of these SMs > >will manage two shows. Last summer I hired > >two and we had some problems, likely due to my novice > >SM-hiring skills and expectations. > > >This list has helped a lot but does anyone want to > >give me 10 questions I should be asking in an > >interview? > >I have already thought of the rope/knot thread and > >the # of knots one might need. ;-)) > > >Richard Wright > >Newman & Wright Theatre Company > >Williams Lake and Barkerville, B.C. > > >First, why are your Stage Managers tying knots? The >thing with Non-equity Stage Managers is that no one >really knows what their job description is. A lot of >people think they do, but it actually varies from >theater to theater. You may be expecting them to tie >knots and pull curtains and paint things, for >instance, and they may be expecting to take blocking >and call cues. So when they come to work with you, >both sides are annoyed and frustrated. Outside of a >union situation, where job descriptions are codified, >you have to be specific. You may be really clear in >your own head about what you expect from your stage >managers, but there is really no guarantee that they >have the same idea in THEIR heads. You should also be >really clear, in your advertisements and in your >interviews, what kind of skills you are looking for >and what duties you are expecting. You may think it's >obvious, but more often than you know, it isn't. > >Are they doing every other show, so that, in theory, >no one is in both rehearsals and performances at the >same time? Are they expected to assist the other SM at >all? Do they have any assistants (interns, whatever?). >Are they taping out rehearsal spaces? Pulling >rehearsal props? Scheduling? Taking blocking, >prompting, all that? Are they expected to turn in >rehearsal reports? Performance reports? Do they >schedule production meetings? Host them? Arrange >transportation or drive people around? Any technical >duties? On deck for the show? Calling cues for the >show? Running a light board? Selling soda and candy? >Participating in scene shifts? Are they expected at >load in and/or strike? Of their shows? Of all shows? >Are they expected to undertake any duties for the >company outside of rehearsals and performances for >their specific shows? > >What pay are you offering? Are you paying a fee, a >weekly salary, a per show rate, or what? Are you >paying them for any prep time before their first show? >How soon before their first show are you expecting >them to arrive, and when do they start getting paid? >Do they walk away after the last performance of their >last show, or are they expected to help strike, or >close up the SM office, or anything else? Do you want >their prompt books, or can they keep them? Will your >company provide transportation, or reimbursement for >travel? Will you provide housing? Shared or solo? Do >you provide a computer, or are you expecting them to >bring their own? Are you providing an office? Office >supplies? > >The questions you ask depend so hugely on what you >want them to do. And on what your problems have been >in the past. I think if you can hand them a list of >your expectations about their job duties at the >interview stage, it will provide excellent talking >points for discussion at interviews as well as >preventing misunderstandings after hiring. And, even >in a non-union situation, I think it would be good for >you to write up some kind of formal agreement >outlining your terms and their duties, at least in >broad strokes, so you both have something to sign that >will lay out what is expected and what is required. >The less suprises on either side, the better. > >Hope this helps - > >===== >June Abernathy >IATSE #321 (Tampa, FL) >FOH Electrician >The Lion King National Tour (Gazelle) > > > >__________________________________ >Do you Yahoo!? >All your favorites on one personal page – Try My Yahoo! >http://my.yahoo.com _________________________________________________________________ On the road to retirement? Check out MSN Life Events for advice on how to get there! http://lifeevents.msn.com/category.aspx?cid=Retirement ------------------------------ End of Stagecraft Digest #261 *****************************