A)   ATTENDING EQUITY AUDITIONS

B)   EQUITY MEMBERSHIP VRS. NON-EQUITY PARTICIPATION

C)   CONTACT INFORMATION

D)   DESCRIPTION OF EQUITY AGREEMENTS & CODES

The following is contributed from THE ACTORS ENTERPRISE. ERIN CRONICAN works as an actress/ singer/ dancer, and received the Mary Pickford Scholarship for Excellence in Theatre. A proud member of SAG, AEA and AFTRA, Erin has performed in theatres nationwide, and works as a business coach for performers, inspiring them to take control of their careers by treating them as a true business. She is also an award winning theatre director and producer.

"The short answer is 'yes'.

Here's how the Broadway (and other Equity) auditions work in New York City. On the day of the EPA (Equity Principal Audition) the audition monitor will arrive between 30-60 minutes before the audition time to start taking sign ups. Union performers are the first to sign up, and they are assigned time slots in the order they arrive. Equity Membership Candidates (EMCs, or non-equity performers who have worked in an Equity theater and are building points towards membership) will put their name on an EMC waiting list in the order of arrival. Non-Equity/non-EMC performers will also put their name on a list, but it will be a list for non-Equity performers.

Once the auditions start, any time slot that is not filled with an Equity performer will be assigned to the people on the EMC list, until all time slots are filled. In the event that all Equity members and EMCs have gotten a slot, they will then go to the non-Equity list and fill the slots from there.

Most of the time, there are more Equity performers than there are slots, so there is a 4th list called the Alternate list. If an Equity performer shows up and there are no time slots left, they will put their name on the Alternate list. If a slot becomes available (due to no-shows or the audition running ahead of schedule), the first list they pull from is the Equity Alternate List; then the EMC list; then the non-Equity list.

So, as you can see, the non-Equity performer has a bit of difficulty in getting into auditions. That's not to say that it never happens - non-Equity performers do get seen on a limited basis. However, you can see how it might be tough for a non-Equity performer to be seen if there are so many others ahead of them. With regard to waiting: once you have your name on the list, you must be present when your name is called in order to fill a time slot. If you step away and your name is called, you forfeit your spot to the next person on the list. This is why you hear horror stories about non-Equity performers waiting all day with the possibility of never being seen.

Most producers would say that they are very happy to see non-Equity performers if there is time. I have known a few to even stay 15-20 more minutes in order to see everyone on the list. This is rare, but it does happen." 

The following is contributed by NY DANCE SCENE. SONDRA FORSYTH serves as a guest teacher for the open classes at the American Ballet Theatre. She is the artistic director of Ballet Ambassadors, an Arts-in-Education program which she founded and which is supported by Project ARTS of the New York City Board of Education and by the Suffolk County Board of Cooperative Educational Services on Long Island. Sondra also created the Harkness Ballet Outreach Program in the New York City public schools under the auspices of the 92nd Street Y and served as principal teaching artist for four seasons.

"You may have heard that the only way to get into Equity is to land an Equity contract, but that the only way to land an Equity contract is to be present at a members-only audition. Newsflash: That popular notion of a Catch-22 is erroneous. Even more important, there is a good reason to be in no rush to say ‘I got my card!’ - industry shorthand for joining Equity.”

Sondra talked with Robert (Bob) Bruyer, Equity's Executive Assistant for Communication and Education:

BACKGROUND:

“Equity is the union for performers and stage managers in the professional theatre, which includes Broadway as well as venues all over the country. (There are Canadian and British Equity Associations with reciprocal arrangements for members who get jobs across the border or the Pond.) Virtually all contracts include pension and health coverage, transportation expenses and out-of-town expenses. In addition, you may get discounted dance classes at the discretion of studio owners.

Beyond that, union members enjoy such benefits as overtime pay, workmen's compensation, disability and unemployment insurance, the opportunity to join a credit union, a guarantee of safe and sanitary working conditions, and a mandate for reasonable hours.

The union is also involved in a variety of support and charitable organizations, although you do not need to be a union member in order to take advantage of most of these services, including Career Transition for Dancers.

Benefits aside, be aware that Equity salaries vary dramatically depending on the place and type of theatre. The agreement for Broadway, and for National and International Tours, specifies a dazzling $1180 minimum per week under the "pink contract" for performer/singer/dancer members of the chorus. If you have speaking lines or if you're the Dance Captain, you'll get even more money. Principals, of course, get the highest pay. Theirs is called the "white contract." But Equity productions ranging from summer stock to cabaret to theatre for young audiences usually pay far less. You are free to try to haggle for more than is offered, but a budget is a budget so don't count on getting your price.”

HOW DO YOU GET IN?

Bob Bruyer outlined three routes:

“Get hired by a producer who has posted a bond with Equity. No, that's not impossible. True, you can't go to members-only auditions, but plenty of Equity productions hold non-union calls. Fresh talent really does get plucked out of the crowd all the time. (Note: The infamous eligibility rules were eliminated back in June of 1998.) 

Get into a membership candidate program by working at a participating theatre. You earn credit for performing as a non-union employee. There is a registration fee which will be applied to your future initiation fee. When you pile up enough credits, you're in.

Join Equity via a Four A's Affiliation. This refers to the Associated Performers and Artists of America, the parent AFL-CIO international for all the American performers' unions: the Screen Performers Guild (SAG), the American Federation of Television and Radio Artists (AFTRA), the American Guild of Musical Artists (AGMA), and the American Guild of Variety Artists (AGVA). "Joining Equity this way is the easiest of all," says Bruyer. "That's because anyone can walk in off the street and join AFTRA just by signing up and paying dues. After a year in AFTRA, you can join Equity even if you've never held an Equity job, or any professional performing job for that matter."

This sounds like a sweetheart deal, but watch out. ‘I always warn young people not to join Equity too soon,’ says Bob Bruyer. ‘Once you're a member, you can't take non-union jobs. Sometimes arrangements can be made for you to have a Guest Contract or a Special Appearance Contract, but you cannot work without a union contract.’ To quote from the Equity handbook: ‘Working without contract is so serious a breach of your professional responsibility that such behavior will subject you to disciplinary action.’”

IS MEMBERSHIP RIGHT FOR ALL DANCERS?

“Bruyer adds that Equity membership is definitely not a ticket to employment. ‘As a card-carrying member, you can go to the members-only auditions, but if you haven't given yourself time to rack up some experience, your chances of beating out a studio full of seasoned pros is probably not all that good.’

Bruyer also points out that for some dancers, Equity membership may never be a wise choice. Let's say you're a ballet and/or modern dancer. You're not a strong enough tapper to be a Rockette with an AGVA contract, and no amount of training is going to give you a Broadway belter's voice. You don't have the perfect body for a big league AGMA company like American Ballet Theatre or New York City Ballet or San Francisco Ballet. But you are eminently employable as a "pick-up" dancer for non-union "Nutcracker" productions and for excellent chamber-sized companies or outreach programs all year long.

You've been making a nice living like this. You love the freedom as well as the chance to work with emerging choreographers. True, you're paying for your own health insurance. But overall this is a lifestyle that greatly appeals to you. You may even be thinking of doing some choreography of your own or starting a small company down the road.

Then one day you see a casting notice for the ballet corps in "Phantom of the Opera" on Broadway. You go to the audition and you get the job. You join Equity, plunking down your $1100 initiation fee and your $118 yearly dues. Six months later, you're supremely bored with doing Cecchetti tendus eight shows a week. The thrill of being able to say you're dancing on Broadway has fizzled.

It's almost December, and you would dearly love to guest somewhere as Spanish or Sugar Plum. You've also seen a host of enticing casting notices for non-union companies during recent weeks. Now what? Going back to non-union status probably makes the most sense. (NB: A source at the AGMA offices who wished to remain anonymous said that AGMA members have more latitude than Equity members do when it comes to performing without a union contract.)”

WHERE DO I GO NOW?

For more information on Equity, visit their web site. There is no toll-free phone number, but you can call the following regional offices to request handbooks:

• National/Eastern Office (NYC), 212.869.8530
  
  
• Central Office (Chicago), 312.641.0393
  
  
• Western Office (LA), 323.634.1750
  
  
• San Francisco Office, 415.391.3838
  
  
• Orlando Office, 407.345.8600

DESCRIPTION OF
EQUITY AGREEMENTS & CODES

Bay Area Theatre Agreement (BAT)
The BAT Agreement is used within the nine-county San Francisco Bay Area in seasonal not-for-profit theatres with fewer than 400 seats and that have not previously produced under a standard Equity Agreement. There are five salary tiers based on a box office gross formula, providing for flexibility in seating capacity and number of performances per week.

Buffalo/Rochester Agreement
This agreement is a modified version of the Special Appearance agreement available only for theatres in the greater Buffalo-Rochester area. There is no health insurance.

Cabaret Agreement
This agreement is applicable for productions presented in cabaret-style theatres where the majority of the audience is seated at tables. In most cases food and/or drinks are served. Performances are limited to 8 per week with no more than two in any one day. Performances may be no more than 90 minutes in length. Touring is not permitted.

Chicago Area Theatre Agreement
This agreement is used in theatres with a capacity of 900 seats or fewer within 35 miles from the Chicago city limits and covers both commercial and not-for-profit theatres. It is a tiered contract with flexibility in seating capacity and number of performances per week. Local touring is permitted on all tiers. Housing and expenses are applicable for overnight tours.

Chicago Showcase Code
This code is for use within the city of Chicago for productions before audiences of no more than 99 persons. Unlike other showcase codes, the "producer of record" and all the performers must be members of Equity.

CORST (Council of Resident Stock Theatres)
Agreement covers Resident Dramatic Stock and is used by commercial and not for-profit producers. The four categories are based on potential weekly box office gross. A resident company of five principal actors and one stage manager must be maintained in all but two productions. No more than 50% of the performance weeks may be for musical productions. Touring is not permitted. Expires: February 24, 2003.

COST (Council of Stock Theatres)
Agreement covers Non-Resident Dramatic or Musical Stock and contains five tiers with different salary minimums. It may be used by commercial or not-for-profit theatres, and must have a season of not fewer than two consecutive productions, or, in the case of a unit tour, perform at two or more Stock Theatres for not fewer than two consecutive weeks. There may be up to four weeks of rehearsal and up to eight weeks of performances per production in one location. Touring is permitted either on consecutive stock jobbing or unit contracts. Expires: December 30, 2001

Dinner Theatre Agreement
This agreement cover theatres presenting consecutive productions where dinners are served either in the same room in which the performance is given or in an adjacent room. Dinner Theatre agreements are negotiated separately for each dinner theatre in each regional area and have differing salary scales. Each production must play no fewer than three weeks and the theatre must operate on a year-round basis. The advertised admission price must include both the meal and the performance; however, 25% of the performances in any given week may be on a performance-only basis. Dinner Theatre agreements are not permitted in New York City, Chicago, Los Angeles or San Francisco, except by permission of Equity. Touring is not permitted.

Disney World Agreement
This agreement covers theatrical performers at Walt Disney World in Orlando. The Disney Company health insurance plan is provided. The Disney Agreement is administered from the Orlando office.

The Guest Artist Agreement
The Guest Artist Agreement is used by not-for-profit educational or community theatres that occasionally employ professional actors. No more than two actors may be employed in any one production under the agreement unless special permission is granted. A stage manager contract is required when there are more than two actor contracts. This agreement contains three salary tiers based upon the number of regularly scheduled performances.

Hollywood Area Theatre Agreement
The Hollywood Area Theatre (HAT) Agreement is used in theatres with fewer than 500 seats presenting productions in the county of Los Angeles. There are four categories based on seating capacity and seven salary levels based on gross box office receipts.

Live Corporate Communications Contract
The Live Corporate Communications Contract, formerly the Business Theatre contract, covers any live production for which the primary purpose is to promote directly or indirectly a product or service, including public or educational services, or to inform groups of employees or clients. There are separate salary rates for multi-week, single-week daily, and half-daily engagements. Bonding is not required, and you are advised that paychecks may be issued as long as 12 business days following the week worked. Touring is permitted.

Letter of Agreement (LOA)
Together with Small Professional Theatre, LOA's are used in developmental situations. LOA's provide theatres the time and flexibility needed to develop into a standard Equity agreement. Every LOA is individually negotiated and, as a result, the terms vary from theatre to theatre and from season to season. Each LOA is referenced to a standard rule book for those provisions that are not specifically set forth in the LOA.

The League of Resident Theatres (LORT)
The League of Resident Theatres (LORT) Agreement is used by not-for-profit professional regional theatres throughout the United States. Some Theatres employ resident companies each season, though most employ performers on a show-by-show basis. Five categories, based on actual weekly box office gross (averaged over a three year period), determine salary and personnel requirements. Local and overnight touring is permitted, but per diem is required when an actor performs overnight tours away from the Theatre. This agreement covers both dramatic and musical productions.

Los Angeles 99-Seat Theatre Plan
This plan is for use in the county of Los Angeles in theatres of 99 seats or fewer.

Midsize Theatre Agreement
The Midsize Theatre Agreement is designed for theatres seating up to 699 outside the office cities. It is to be used for a single production, not for seasonal operations. Payments are determined by the theatre's potential weekly box office. The Agreement does not permit the use of non-professionals; nor may it be used for touring. Housing is provided by the Producer at no cost to the Actor and a per diem is provided.

The Mini Agreement
The Mini Agreement is used in New York City in theatres of 99 seats or fewer and is referenced to the Off Broadway Agreement for its work rules. It has reduced salaries and is only issued at the discretion of Equity.

MSUA (Musical Stock/Unit Attraction)
Agreement was originally designed for use in very large outdoor amphitheatres but now also includes some indoor operations. Sometimes these theatres produce their own shows which they may present at their own theatres and/or tour on a Unit Attraction Agreement or consecutive stock jobbing contracts; sometimes they serve as stops on Stock or Bus & Truck tours. Because outdoor amphitheatres can present only evening performances, such outdoor theatres are permitted to perform seven nights per week. Expires: October 29, 2000.

New England Area Theatre Agreement
This agreement is essentially a modified version of the Small Professional Theatre Agreement negotiated for use by a group of theatres in the Boston area.

New Orleans Area Theatre (NOLA)
This agreement is a modified and expanded Special Appearance agreement, specifically designed for use in the immediate New Orleans area. It is based on the premise that actors and stage managers may be used on a periodic performance basis. NOLA contains three salary tiers, based on the number of performances and hours of rehearsal for which the member is employed. Musicals may not be produced under NOLA. There is no health insurance.

New York City Showcase Code
This local code is available for use in New York City in theatres of 99 seats or fewer. There are two such codes: the Seasonal Code for Funded Non-Profit Theatres and the Basic Showcase Code used for single, commercial productions.

Off Broadway Agreement
This agreement covers those theatres that have fewer than 500 seats in the borough of Manhattan in New York City, but that are not located in the "Broadway District". There are five categories determined by seating capacity.

Orlando Area Theatre
This agreement is a modified version of the Special Appearance agreement available only for the city of Orlando.

Outdoor Drama Agreement
Used by community-based historical dramas. The agreement requires no fewer than four contracts including the stage manager; the majority of these very large casts is apprentices and community residents. Conditions are generally rustic and the roles are physically demanding, including stunts, horseback riding and use of firearms. Expires: September 26, 2002

Pittsburgh Special Appearance Agreement
The Pittsburgh Special Appearance Contract is a modified version of the Special Appearance Contract available only for theatres in the Pittsburgh area. There is no mandatory health insurance under this Agreement.

The Production Agreement
The Production Agreement covers Broadway, National and International Tours. It is also used for touring productions at large performing arts centers such as the Kennedy Center. This agreement can be used by both commercial and not-for-profit producers, for either limited or open-ended runs. It covers both musical and dramatic productions and is the only agreement with provisions allowing non-resident alien performers to work in the United States. In June of 2001, a 401(k) Plan was added to the Agreement. MassMutual provides financial services to help Actors save for retirement. Payment of per diem is required whenever the Actor is required to rehearse and/or perform away from the production's "Point of Organization" city (New York City, Chicago, Los Angeles or San Francisco). For many decades, this Agreement was bargained with the League of American Theatres & Producers. Buena Vista Theatrical Ventures (Walt Disney Company), and the former SFX Company have each negotiated individual Agreements.

RMTA (Resident Musical Theatre Association)
Agreement is used by both commercial and not-for-profit stock theatres for musical seasons. A resident company of no fewer than four principal actors and one stage manager and one assistant stage manager must be maintained for all but two productions. Expires: December 25, 2000.

Small Professional Theatre Agreement
This agreement may be used in theatres of fewer than 350 seats in areas outside of New York, Chicago and Los Angeles. This national agreement, together with many individual Letters of Agreement, form the basis of Equity's Developing Theatre programs. The 10 salary categories are determined by the number of performances and the maximum weekly hours of work. The agreement may be used in both commercial and not-for-profit situations and for both seasonal operations and single productions. Touring is not permitted.

The Special Appearance Agreement
Like the Guest Artist, the Special Appearance Agreement was established to encourage increased employment opportunities. This is essentially a modified Guest Artist Arrangement for use by small community theatres, outside of New York City, Chicago, Los Angeles and San Francisco, that wish to hire individual professional artists and/or stage managers. There are two salary tiers based on seating capacity, box office gross and number of weekly performances.

Stock Theatre Agreements
A Stock theatre presents consecutive productions of different plays with no lay-off or hiatus between productions. The various types of Stock Agreements are: CORST (Council of Resident Stock Theatres); COST (Council of Stock Theatres); MSUA (Musical Stock/Unit Attraction); Outdoor Drama; RMTA (Resident Musical Theatre Association), all of which are listed individually in this section with greater detail.

Theatre For Young Audiences (TYA)
The TYA Agreement covers productions of plays expressly written, created or adapted to be performed for children. There are two forms of contract: the weekly contract and the per-performance contract. Performances are generally done during normal school hours and are limited to 90 minutes in length. In addition to performances, the agreement allows associated "Artist Activity," such as classes with the students. Local and overnight touring are permitted, but expenses are required when actors are required to sleep away from their place of residence.

University/Resident Theatre Association Agreement (URTA)
The URTA Agreement contains four minimum salary tiers based upon weekly box office gross and number of performances. This is available to colleges and universities that employ professional actors and stage managers on a regular basis to perform with students. Visit the URTA Web Site for more information about the association.

Western Civic Light Opera (WCLO)
The WCLO agreement is used in Western Region community non-profit musical theatres. Touring is permitted between WCLO theatres and, under certain circumstances, into theatres that are not signatories to the WCLO agreement. Per diem is required when the actor performs overnight tours away from the theatre.

The Workshop Agreement
Workshop is a special agreement administered by the Eastern Region and is used for the development of new works, usually a musical, and usually prior to an intended Production Agreement engagement. Salaries are lower than standard Production rates in exchange for participation in a percentage of gross box office receipts and subsidiary rights.

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