The more things stay the same...
So here I am, being a stagehand. Same job I had straight, and I mean STRAIGHT, out of high school. And while I'm doing a lot of the same things in the same places, things have changed a bit...
Before, the main question I encountered was "So, whose kid are you?" Clearly I was young and new and to get a Union gig meant I had to be related to someone. My back-story and connections were satisfactory, and the majority of the guys were very welcoming.
I'm not so young now. And I can at least pull my own weight, literally. So the question has expanded: "Where did you come from?" "When did you start with 16?" and "If you started in 1999, how have I not met you before?"
I have more years in than many of the people I'm working with. And with a card, I outrank them too...which isn't to say I know more, far from it. My 'detour' with Sound Associates knocked me back on the learning scale. I should know more about lighting than I do, but people are fairly interested in the infrared devices I used to play with. Mostly because Sound Ass. is the only theatrical company with them, and the majority of stagehands will never lay a hand, or even an eye, on the system.
While I still maintain the apprenticeship was a royal pain in the rear and the jury is still out on whether it was in my best interest, people are impressed with my Local One card. The mystery and awe inspired by the Broadway Local is intense. Once again, my lack of relations in the Union confuses people. It is a common belief that in order to get into One you have to be related to someone. Guess it's good I didn't know that before I joined...
It's such a shock to work out here again. It's just like I remember it, I work hard and am thusly rewarded. My ethic and abilities are appreciated and I am often kept after the crew is cut down (though the seniority and card have a hand in that). That rarely happened in NY. The last time I had such a positive work environment was at The View. I think that was one of the hardest things about the apprenticeship. I've gotten used to being able to pick up on what needs to be done and adapting to a job. No matter what I did at Sound Associates, I was wrong. If I took an initiative, someone would come along and tell me it was wrong and to do it over. So I'd do it over, and someone else would come along and tell me I was doing it wrong and to do it the way I had initially. It became much easier to not think and just wait to be told exactly what to do. If I'm doomed not to win, why bother trying? I'm so glad that's all over.
Anyway, I'm working a lot. A lot. And I while I'm enjoying the people, being busy, and earning money, I know this isn't what I'm going to be doing for much longer. This afternoon I received news...well...that's for another post when I've had some time to digest and process the ramifications...
Sunday I go back to The Geary and ACT, an actual professional theater again and the last one I worked at in SF the week before I took the apprenticeship test in NY and then had that ill-fated turn as Assistant Technical Director at The Kitchen...it's been a while and I'm looking forward to it!
Before, the main question I encountered was "So, whose kid are you?" Clearly I was young and new and to get a Union gig meant I had to be related to someone. My back-story and connections were satisfactory, and the majority of the guys were very welcoming.
I'm not so young now. And I can at least pull my own weight, literally. So the question has expanded: "Where did you come from?" "When did you start with 16?" and "If you started in 1999, how have I not met you before?"
I have more years in than many of the people I'm working with. And with a card, I outrank them too...which isn't to say I know more, far from it. My 'detour' with Sound Associates knocked me back on the learning scale. I should know more about lighting than I do, but people are fairly interested in the infrared devices I used to play with. Mostly because Sound Ass. is the only theatrical company with them, and the majority of stagehands will never lay a hand, or even an eye, on the system.
While I still maintain the apprenticeship was a royal pain in the rear and the jury is still out on whether it was in my best interest, people are impressed with my Local One card. The mystery and awe inspired by the Broadway Local is intense. Once again, my lack of relations in the Union confuses people. It is a common belief that in order to get into One you have to be related to someone. Guess it's good I didn't know that before I joined...
It's such a shock to work out here again. It's just like I remember it, I work hard and am thusly rewarded. My ethic and abilities are appreciated and I am often kept after the crew is cut down (though the seniority and card have a hand in that). That rarely happened in NY. The last time I had such a positive work environment was at The View. I think that was one of the hardest things about the apprenticeship. I've gotten used to being able to pick up on what needs to be done and adapting to a job. No matter what I did at Sound Associates, I was wrong. If I took an initiative, someone would come along and tell me it was wrong and to do it over. So I'd do it over, and someone else would come along and tell me I was doing it wrong and to do it the way I had initially. It became much easier to not think and just wait to be told exactly what to do. If I'm doomed not to win, why bother trying? I'm so glad that's all over.
Anyway, I'm working a lot. A lot. And I while I'm enjoying the people, being busy, and earning money, I know this isn't what I'm going to be doing for much longer. This afternoon I received news...well...that's for another post when I've had some time to digest and process the ramifications...
Sunday I go back to The Geary and ACT, an actual professional theater again and the last one I worked at in SF the week before I took the apprenticeship test in NY and then had that ill-fated turn as Assistant Technical Director at The Kitchen...it's been a while and I'm looking forward to it!