Messages

1

The Hardline / Re: Visit from My AEA Business Representative

« on: Oct 13, 2015, 03:00 pm »

In my area of the country, there used to be a southeast traveling rep from Equity, I think based out of the Orlando office.  He would make the rounds at most Equity theatres every couple of years, meeting with members, meeting with the producer, and touring/inspecting the theatre.  I met him at SETCs when he did an AEA seminar there.  Equity, in their infinite wisdom, got rid of that job about five years ago, so now no one visits.

I agree, it was great not to have a faceless voice on the phone, but an actual person to talk with. 

2

The Hardline / Re: Tech under SPECIAL APPEARANCE AGREEMENT?

« on: Jun 12, 2012, 10:33 am »

I've seen a concession granted that allowed for no days off during tech week in exchange for an extra day off the previous week (usually the weekend before tech) and/or two days off immediately following opening weekend - always worth asking.

That being said, I've been told the Special Appearance is restrictive in nature becuse of the low salaries, no required health, and the lack of a required Equity SM.  You get what you pay for!

3

The Hardline / Re: Do Members Need Equity's Permission to do College Shows?

« on: Apr 28, 2010, 11:39 pm »

I'd agree that this is about how different reps interpret the rules and that some of those rules are vaguely worded (intentionally so in many cases).  However, the overriding rule we're dealing with is not one of those vague rules.  Rule #1 on the back of your Equity card states, "Under no circumstances may you rehearse or perform in any company without a properly executed and signed Equity contract."  Seems pretty definitive to me - and all of the entertainment unions have a similar rule.  The exception is that in certain circumstances, Equity will grant a waiver.

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The Green Room / Re: GREENROOM: Patron Saint of Stage Managers?

« on: Apr 27, 2010, 04:04 pm »

St Peter, patron saint of bridge builders
St Gabriel, patron saint of diplomats
Saints Anthony, Lawrence and Martin de Porres, patron saints of the poor (not so funny that it takes three of them to handle this category)

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The Hardline / Re: Do Members Need Equity's Permission to do College Shows?

« on: Apr 27, 2010, 01:07 pm »

I absolutely agree that you should call an Equity office.  However, it's interesting to note that the different regional offices can often give you different answers (a little frustrating since you'd think a rule like this would be standard across the country).  Babens mentions speaking to a rep in the Chicago office who provided information on exceptions to needing a waiver, whereas I normally speak to reps in one of the Eastern region offices, where I'm told a waiver is always required.  I guess it proves that there's an exception to every rule.

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The Hardline / Do Members Need Equity's Permission to do College Shows?

« on: Apr 26, 2010, 05:24 pm »

This may have changed in the past few years, but when I went back to grad school, after getting my Equity card, the only school production I needed to get a waiver from Equity for was one where we were using the U/RTA contract because of the number of guest artists that we were bringing in.  Other than that all other productions that were under the auspices of the department were fair game and needed no permission from Equity to participate in.  This was the same for several of the actors who came in to the program already Equity, or got their cards during their time in school.

I don't know whether it changed in the past few years or not, but an Equity member must always get permission to work without a contract.  Being in school makes no difference.  Educational waivers are quite easy to get, provided a student is in a degree program that requires their participation in school productions, but they must request one for each production in which they are acting or SMing.

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Students and Novice Stage Managers / Re: AEA Membership Candidate Program

« on: Apr 08, 2010, 12:54 pm »

I'm afraid there is a fair amount of misinformation in the replies to this questions.  Some of it has been corrected, some has not.  I asked Doug Truelsen, the Equity SE Traveling Rep in Orlando, to comment - here's his response:

The EMC Basics - When working at a participating theatre, you may register for the EMC program by filling out an application and paying a $100 registration fee.  Each week that you work in an Equity covered position at a participating theatre, you earn one point.  After you have accumulated 50 points, you may join Equity.  The $100 fee is deducted from your initiation fee.  You have five year window in which to join.

- Not all Equity theatres participate in EMC.  They must apply and Equity must accept them into the program.  A list of EMC theatres is available on the Equity website, www.actorsequity.org.

- You may take as long as you wish to earn those 50 points.  I have known people who have taken ten or more years to reach 50 points, often because they leave the business for a time.  Your points do not expire.  However, you should keep track of how many points you have and confirm them with Equity if you're coming back to theatre after being away for an extended period.

- You may not start the EMC program over.  It is a one-time process.  If you allow your five-year window to pass without joining, you may then only join Equity by either signing an Equity contract or being a member of a sister union in good standing for more than one year.

- While accumulating points, you are not a member of Equity and may continue to work at non-union theatres.  Once you have reached 50 points, you are still not a member and again, may work non-union.  If you are offered employment at an Equity theatre after acquiring 50 points, we expect you to be signed to an Equity contract, which is not exactly the same as joining Equity, especially in a right-to-work state.

- Individuals are not responsible for sending their weeks to Equity.  The theatre sends Equity weekly reports, including a list of who it is currently employing.   Your points are automatically added to your account.  Again, it is to your advantage to keep track of your weeks.

- Points are only added to your account during the span of the production.  It is highly unusual for points to be added retroactively.

As to when to join the EMC program, I see no downside to joining as soon as you have the opportunity.  The program was designed to give you time to add to your resume, get additional training and work alongside professionals at Equity theatres.  Joining Equity too early with a thin resume and not being prepared to compete with the Equity talent pool - both actors and stage managers - could be detrimental to your career.  By joining Equity through the EMC program, you now have the ability to show prospective employers that you have professional theatre credits, not just those from academic and community theatres.

I hope that helps clear up a few things.  If anyone has further questions, feel free to contact me.

Doug Truelsen
Southeast Traveling Rep
Actors' Equity Association
10319 Orangewood Blvd
Orlando, FL 32821
407-345-8600
dtruelsen@actorsequity.org

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Stage Management: Plays & Musicals / Re: REHEARSALS: prompting requests around the world

« on: Jan 08, 2010, 12:35 pm »

The other thing is the silent call for line.

No such thing in my rehearsals.  I make it clear at the start that I or my ASM will only respond when an actor calls "Line" or "Word."  As I'm an actor as well, I understand that there are times that I am acting or trying a dramatic pause, but more often, it merely helps my process to struggle through a particularly tough passage (not in dress, mind you).  I don't think an SM should have to be trained on each and every actor's individual habits.  While I'm willing to make rehearsals run as smoothly as possible for each of them, there should be some basic ground rules which everyone follows.

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Stage Management: Plays & Musicals / Re: Offshoot from Are you always completely honest?

« on: Oct 13, 2009, 02:53 pm »

Absolutely...sheepishly perhaps, but always.  As was pointed out in the previous thread, it could come back to bite you later if you don't.  Better to get ahead of the game and admit the mistake (kinda like David Letterman) than to pay doubly later for appearing to either ignore it or cover it up.

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The Hardline / Re: Who makes sure the rules are followed?

« on: Oct 05, 2009, 04:10 pm »

For me, the SM, union or not, is the final on-site enforcer of the rulebook.  Obviously, that should be in concert with the deputy, the producers, and if need be, Equity staff.  As an Equity SM, it was my responsiblity to not only enforce the rules and safety for the AEA members of the cast, but be an advocate for the safety of the non-Equity cast as well.  As a non-Equity SM, shouldn't the same (or opposite) be true for you?  In my experience, it is rare for cast members to be treated differently based on their union membership (although I'm sure it happens, just not on my watch!).

If you plan to join Equity in the next couple of years, then it would be to your advantage to familiarize yourself with the appropriate Equity agreement and ensure that the rules are being followed properly.

My bigger problem with this (and this is in no way meant to be a reflection or comment on your abilities) is that a theatre would hire a non-Equity SM for a position that clearly should be Equity.  Many Equity agreements have a provision stating that the SM is not to be considered an entry level position, meaning we want a member in that job.  While that cannot legally be enforced in a right-to-work state, it bothers me that an Equity producer would disregard the intent of that statement.

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The Green Room / Re: audience callbacks- the ones you want, the ones you don't

« on: Sep 21, 2009, 04:57 pm »

I don't know if this story is apocryphal, but it still makes me laugh.  I worked at the Black Hills Passion Play in South Dakota many years ago, and I'm told that at one peformance, as Christ was being nailed to the cross, a large African-American woman came running down the aisle of the huge amphitheatre, yelling, "I'll save you, Jesus!"  Oh, if only YouTube existed then...

12

The Hardline / Re: Theatres That Have Closed--Can You Say "Emergency?"

« on: Sep 17, 2009, 04:10 pm »

Add the Blowing Rock Stage Company in North Carolina and the Alhambra Dinner Theatre in Jacksonville, FL to the list.  Both closed in the past couple of weeks.  The Blowing Rock PAC is now controled by its Board of Directors, which hopes to reopen next spring or summer, but it is doubtful that it will have a professional theatre company attached to it.  There is a theatre angel interested in buying the Ahambra and spending a couple of months upgrading the facilities before reopening, but nothing is definite yet.  Keep your fingers crossed.

13

The Hardline / Re: AEA Health Weeks

« on: Jul 15, 2009, 05:01 pm »

hbelden, I think your response is absolutely correct.  Just because an individual actor doesn't aquire enough weeks to obtain insurance doesn't mean that those health payments are going to waste.  Our pool insurance system would collapse if we were to allow theatres to stop making those payments, and then everyone would be out of insurance.

I also counter that I've spoken with plenty of actors that would prefer to take a lower salary in order to get those health weeks.  It all depends on each individual's situation.

And Matthew is correct - Equity should and does fight for both.  However, it is understandably difficult to create the balance in these tough economic times.

14

The Hardline / Re: New SPT Agreement

« on: Jun 29, 2009, 04:16 pm »

The SPT is promulgated, not negotiated, since, as was pointed out, there is no producer organization with which to negotiate.  It is indeed in use - a great deal!  According to the 07-08 annual report, SPT contracts accounted for over 29,000 work weeks, making it Equity's third most used agreement.

It runs from June through May every year.  Equity again extended the current agreement this year. essentially freezing the minimum salaries (a few had to be slightly increased to meet some state minimum wage laws).  My experience is that Equity welcomes suggestions from producers as to changes in the agreement, although they are under no obligation to agree to those suggestions.

The producer's category is based on the number of performances per week, and then by how many hours per week the producer wants to rehearse.  For example, a theatre that programs four performances per week can use Category One, Two or Three, allowing them to  rehearse up to 22, 26 or 30 hours per week respectively, with the minimum salary increasing accordingly.

15

The Hardline / Re: Actor Notes - After opening

« on: Apr 01, 2009, 03:21 pm »

While I'm glad to read the opinions of both Matthew and crazylady, and I respect those opinions, I would caution them about making assumptions.  Both of their posts include phrases that make it appear that they think I am a still-wet-behind-the-ears SM ("as you continue down this path",  "you will get over that (nervousness)").  In fact, I am a twenty-year Equity member and was involved in theatre for another doezen years prior to that.  I agree that SMs should take classes and get experience in many areas of theatre and I have: acting, directing, producing, music directing, props, etc.  I'm not trying to brag - many of our resumes are similar, I am sure, but I want to be clear about my background.

I have no problem differentiating between maintenance and acting notes.  For me it's the difference between the job of a director and an SM.  And certainly a production is going to grow during the run - performances and nuances change, audience reaction and size can affect the pace.  It is the job of the SM to guide the production through those changes while staying true to the director's vision.  However, I would not consider telling an actor to hold for laughs an acting note.

Part of the equation is how the director structures the process.  I've worked with directors who wanted me involved in every artistic decision, from helping to cast a show to asking me to help an actor find the emotional truth in a scene.  And I've had directors who only wanted me to handle to audition paperwork and tell them what blocking was previously done in a particular scene.  Obviously, the manner in which I handle my job varies greatly in these two scenarios.

The competence of the SM can also vary.  As an actor, I have worked with SMs who wouldn't know art if they were to go home and find their dogs playing poker (okay, bad example).  Some SMs want nothing to do with the artistic end of things, prefering to stick with the organizational and technical side.

Perhaps it's the words I'm choosing that are causing the disagreement.  While I would not give what I consider acting notes, I could have an artistic discussion with an actor.  It's the difference between leaving a note on his dressing table saying something to the effect of "You are channeling the wrong emotion in scene 2," and asking the actor how he feels scene 2 is going, opening a dialogue about his interpretations and my view from the booth.  And of course, as we all know, different methods work better or worse with different individuals.  Our job is about finding the best way to communicate in each instance.