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The Hardline / 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!
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!