Author Topic: Several LORT contract questions  (Read 3996 times)

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cschott

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Several LORT contract questions
« on: Sep 28, 2010, 08:39 pm »
I'm teaching a class (for the first time - hopefully this will keep up for several years so I can take advantage of answers I get here) on the AEA-LORT contract and a variety of questions have come up that I haven't quite been able to figure out myself.  So far they're not really anything that a SM would have to know to run a show, but they are interesting questions and I'd love to know if any of you have the answers to them.  So here they are (so far - I'm sure there will be more as the semester continues!):

1. Where did the "A" category come from and go to?  Why can't a theatre move into or out of that category?  (My guess has been that the "A" theatres at some point needed to be limited in number, since they are Tony-eligible)
2. In rule #11 "Broadway District", I'm assuming that the thing that will be governed by Production Contract is the show that is originated in or moved to a house in the Broadway district, not that the entire LORT theatre producing that show must switch over to the production contract (thereby leaving the LORT contract).  Right?
3. A question that I once called the business rep about but didn't really wait for a very thorough answer:  If I'm being paid over scale, I've been told that I can't bill overtime until my OT for the week exceeds the difference between contract minimum and my over scale rate (i.e. if I'm being paid $1200 a week and minimum is $1000 a week, I'd have to go into more than $200 (or more than 7 hours) worth of OT before I'm actually paid extra for it).  The business rep told me that that is true.  In the AGMA contract I've been working recently this is basically spelled out (though restricts what extra payments fit into this rule) but I haven't read it in the LORT contract anywhere.  Is this some sort of standardized thing in AEA or all entertainment or all employment in the US?  At the time that I asked the biz rep about this, I was working on the RMTA contract.
4. Finally, not a rule question, but when did SMs become part of AEA?  Have they been since the beginning?  It sure is hard to find information on the history of the job of stage manager!

Thanks in advance for any insights!

MatthewShiner

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Re: Several LORT contract questions
« Reply #1 on: Sep 28, 2010, 09:38 pm »
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1. Where did the "A" category come from and go to?  Why can't a theatre move into or out of that category?  (My guess has been that the "A" theatres at some point needed to be limited in number, since they are Tony-eligible)

Not every LORT A theater became Tony Eligible.  You would have to talk to people who were in the negotiations to  learn every reason.  I was always told that it was sort that no matter how much lager the lower tier theaters got, they would have to pay at the level.  Some of the LORT A theatres have gone on to negotiate their own contract.

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2. In rule #11 "Broadway District", I'm assuming that the thing that will be governed by Production Contract is the show that is originated in or moved to a house in the Broadway district, not that the entire LORT theatre producing that show must switch over to the production contract (thereby leaving the LORT contract).  Right?


Contracts are always per show -  the theatre is just the producer  - so, yes, it's just the show.

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3. A question that I once called the business rep about but didn't really wait for a very thorough answer:  If I'm being paid over scale, I've been told that I can't bill overtime until my OT for the week exceeds the difference between contract minimum and my over scale rate (i.e. if I'm being paid $1200 a week and minimum is $1000 a week, I'd have to go into more than $200 (or more than 7 hours) worth of OT before I'm actually paid extra for it).  The business rep told me that that is true.  In the AGMA contract I've been working recently this is basically spelled out (though restricts what extra payments fit into this rule) but I haven't read it in the LORT contract anywhere.  Is this some sort of standardized thing in AEA or all entertainment or all employment in the US?  At the time that I asked the biz rep about this, I was working on the RMTA contract.

Unless you had the specifically rider'ed in your contract, that is not how I have worked my entire career.  No matter what I am paid - I am paid overtime for any overtime I work.  But again, some theaters I have worked with have a rider that specifically says that - I have never agreed to it.  Looking over the contract I could not find anything that would outline as such.  I would argue that if you work over time you are due overtime.

Quote
4. Finally, not a rule question, but when did SMs become part of AEA?  Have they been since the beginning?  It sure is hard to find information on the history of the job of stage manager!

Good question . . . I don't know . . . I have a feeling it was 60's/70's at the latest.  Love to see the answers.
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Re: Several LORT contract questions
« Reply #2 on: Oct 01, 2010, 05:10 pm »
1. Where did the "A" category come from and go to?  Why can't a theatre move into or out of that category?  (My guess has been that the "A" theatres at some point needed to be limited in number, since they are Tony-eligible)

From a "Somewhat Informed Source at Equity"...
The limitation on A Theatres has nothing to do with limiting the number or Tony eligibility (in fact several A Theatres are not in NY and therefore not Tony eligible). The restriction came about purely through negotiations between Equity and LORT. The A Category has the highest salary and requires all participants to be on an Equity contract among other things. Although I have not been involved long enough to give all of the history between the parties, the B+ category was created as a compromise of sorts and I believe that with the evolution of that category the A category was frozen. Sorry I do not have a more definitive answer.

2. In rule #11 "Broadway District", I'm assuming that the thing that will be governed by Production Contract is the show that is originated in or moved to a house in the Broadway district, not that the entire LORT theatre producing that show must switch over to the production contract (thereby leaving the LORT contract).  Right?
Assuming the LORT theatre is outside the Broadway District and bringing a production into that area but still maintains it primary LORT Theatre outside of the area then that is correct. Only the production in the Broadway District would be under production terms; the rest of their operation would remain LORT. If the LORT Theatre was attempting to establish a permanent space in the Broadway District then the parties would need negotiate an agreement in good faith.

3. A question that I once called the business rep about but didn't really wait for a very thorough answer:  If I'm being paid over scale, I've been told that I can't bill overtime until my OT for the week exceeds the difference between contract minimum and my over scale rate (i.e. if I'm being paid $1200 a week and minimum is $1000 a week, I'd have to go into more than $200 (or more than 7 hours) worth of OT before I'm actually paid extra for it).  The business rep told me that that is true.  In the AGMA contract I've been working recently this is basically spelled out (though restricts what extra payments fit into this rule) but I haven't read it in the LORT contract anywhere.  Is this some sort of standardized thing in AEA or all entertainment or all employment in the US?  At the time that I asked the biz rep about this, I was working on the RMTA contract.
Working under a contract you negotiated at over scale does not automatically fold in any over time. The questioner was under an RMTA contract and I assume it was at a theatre in the west. That RMTA theatre had a very specific rider to the Stage Managers contract that indicated that the individual would receive x dollars over minimum each week as payment toward up to y hours of overtime. The amount was paid whether overtime occurred or not. Unless such a rider, which is not that common, was within an individual rider to a contract overtime payment is due whether someone is at a contractual salary above minimum or not.

4. Finally, not a rule question, but when did SMs become part of AEA?  Have they been since the beginning?  It sure is hard to find information on the history of the job of stage manager!
It appears that the historical records are not easily arranged to answer this question with 100% certainty. Best I can tell at the moment is the Stage Managers first committee meeting was in 1942, but there is reason to believe that Stage Managers were probably involved or under contract prior to that.

Hope this helps!
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