Free Lancing Tactics: How Far in Advance

[MatthewShiner]

So, yet again, a good free lancing question . . . just how far do you go ahead a book gigs.

I am about to start a gig that takes me until the end of July.

I have been offered a gig that will take me then right to Mid-September. 

Do you just keep booking and booking?  Or is there some argument not to book to far in advance?

Also, what do you do about offers that may leave gaping holes in your calendar?

Thoughts, ideas, interesting stories?

[hbelden]

I'm sure the rules are different in NYC.  Out here in SF, with all my work based in regional theatre, I start putting together a season as the theatres are announcing *their* seasons in late February/early March. 

By late March/early April, I've gotten all the contract dates I'm interested in, and plotted out a season that has minimal overlap and maximal wages; then I apply for those specific shows, lobbying the theatres I've already worked with for the contracts I want and sending targeted cover letters to the theatres I haven't worked with before.  So, by May, theatres have gotten back to me and I know what I'm doing the next August through June.

I said maximal wages rather than minimal downtime, because the variance between contract wages out here is extreme.  It's often better to take the LORT-A asm job that's three weeks shorter than the LORT-D sm job, and collect unemployment for the month of downtime.

[MatthewShiner]

It's interesting to add into the mixes the ever lasting notion of subbing and replacing on long running commercial runs, and also being attached to pending commercial shows (shows with uncertain start dates). 

Life is complicated.

[dallas10086]

The argument here is that there will be a time where you don't book far in advance and suddenly you have a gap in employment, or you book way in advance and 'miss out' on a great offer because you've already committed to something else.

In non-union freelance world, I vote for going as far in advance as possible. And if a phenomenal just-can't-turn-it-down position opens up, at least you have a better chance of getting out of your contract (my current contract says that either party can terminate employment without penalty)...though I would think long and hard before doing so. You don't want a reputation for saying yes only to pull the rug out from a theatre and leave them scrambling for a replacement. You know what they say about burning bridges...

[Rebbe]

I would just keep booking and booking, at least to the end of the next season, starting as Heath said, when theaters announce their next year’s shows.  For AEA you want to keep in mind where you are with weeks for health insurance, which may lead to times when a longer run at a lower wage is more valuable than the opposite.  When I feel like my 12-20 weeks are covered, I don’t worry too much about gaps between shows.  They are a nice time to recharge, plus you have the option to take unemployment, temp, or do some other sideline work.  Gaps also leave you open to the possibility of take-overs and other short-term show positions.  As for better jobs that come up for times you are already booked, you can always withdraw from the original if that would be the best business decision (think of it as providing an opportunity to another SM).

Interestingly, when I was non-equity, I felt that it was better not to book as far in advance.  At least in the DC area, it seems like good gigs would come up closer to their start dates.  And the lower the pay, the worse I would feel about backing out since I knew it was hard to find good people for those jobs. 

[MatthewShiner]

Rebbe, indeed the health insurance week concern is sort of at the fore front of my mind (something I never had to really think about before) - and now  I am booked for 34 weeks this year, so, part of me DOESN'T want to book any more for the rest of year for awhile, to see a little bit of what being available instantly. 

Especially since it seems like I am gaining a little traction in this new location, and my name is getting out (this week I turned down two - albeit lower paying gigs - but what was interesting for me was that this work sought me out with me apply for these specific jobs) - I am looking forward to being available for more instant work - especially trying to jump into more commercial work - which seems like these are jobs you plan far in advance or you available the day the phone call comes in. 

It's interesting that part of me is more interested in making the jump into new territory and face new adventures then play it safe right now . . . which booking really far in advance feels like . . . but at the end of the day, I really enjoyed a pay check every week.

[SMLois]

This current season was the first time I didn't book a bunch of shows in advance and it has certainly had its challenges.  I've gone 3 months without a paycheque and was on the verge of going crazy due to lack of income/inability to pay my rent, but of course, that's when a gig came up that wants me out of town for 7 weeks starting in 10 days.  It's not a great gig, but its a new city for me and its the kind of opportunity I wanted to be available for when I didn't book up my whole year.

So I guess I can see the pros & cons of both booking ahead and not, and ultimately you have to do what you feel comfortable doing.

[MatthewShiner]

SMLois, I think as I change focus in my career - the type of gigs I want to be working on don't book too far in advance.  I may be unemployed for awhile, but may not keep me open for bigger and better things.

[NomieRae]

I constantly am wondering if I'm overbooking myself and missing out on last minute opportunities (my best paying gig of last year came up with literally 3 days notice) but overall I have found comfort and stability in booking about 6-8months in advance when possible.

Also, while not an ideal situation, I have had myself booked and then been offered MRE and taken it on several occasions. My initial worry was that I was burning a bridge with the company I left behind, but when done graciously I haven't had any problems.

So, overall, I'd say book as far ahead as you can, and if Broadway calls you can always take it.

[cschott]

I've always felt that opera companies seem to book SMs farther in advance than theatre companies, but I think that comes from comparing apples to oranges - the opera companies I've worked for have been Sept-May seasons and I've returned over and over, where the AEA work I've had has been
a. summer companies, who tend not to finalize hiring until Feb/Mar or later (after USITT and SETC conferences), which seems late compared to the start date, and
b. applying for open positions from ArtSearch or PlayBill and other websites - by the time companies are posting there, it's usually late in the game for them. 

This season I let a local theatre company know in July that I'd be free this year and got booked for a show that starts tomorrow (March 21), so clearly regional theatre companies are booking that far in advance in the more standard Sept-May seasons.

I've been lucky enough that the few times I've cancelled a gig I've either been able to recommend a replacement for myself or have been willing and able to not finalize the new contract until management has filled my older contract ("I'd like to do that show for you but I can't give a definitive yes until the company I have a contract with can be sure they've replaced me, which should be done in the next week or so"  "OK, we can wait a week for your answer" - DONE)

Usually if the company you're canceling on knows that it's either MRE or just a better opportunity (I left one company to run away and join the circus) and you are gracious and give as much notice as you possibly can, they live with it and you don't end up with a burned bridge.  They don't cheer and wave flags for you, but they get on with the business of making theatre.

[smccain]

I'm glad someone brought up this topic. I'm a non-union SM, and I've been living and working in NYC for over a year and a half now. I've been lucky enough to have consistent work since I've gotten out here. Recently, I had to turn down a great opportunity to ASM an off-Broadway show because I had just replaced another SM on an off-off Broadway show in Queens. It was really difficult for me to turn down. I just couldn't leave it because a great opportunity came up. This production had already lost one stage manager, I couldn't abandon it.

The whole situation got me thinking about taking jobs in a new way. I've always just said yes to most of the opportunities that came my way, and now I'm wondering if I need to be more strategic in my selections. I typically have just booked myself solid as long as I possibly could. But, I can't predict the future, so it's a tough question.

[sievep]

I book myself as far in advance as possible.  If I have a situation where a better offer comes up, I've never had a problem presenting that and asking for a release of the contract due to more renumerative employment.

Granted, it's only happened once or twice, but I think most people get it and understand . . .if you've got a decent gig and a GREAT one comes up, just be honest and look out for number one . . .everyone else is.  As long as you are telling the truth and giving everyone enough time to find replacements, you should be fine.