I welcome positive changes to the Equity agreement. But I’d still like to see a change in the unfair tier structure in payments for the same job roles in different venues.
It shouldn’t matter what the capacity of a theatre is when it comes to determining salaries for people who do the same job. It’s illogical that an assistant stage manager can be paid more than a stage manager and a deputy stage manager who happen to be working in a different theatre but on the same contract. It fails to fairly acknowledge experience and responsibilities. As I’ve progressed from an ASM to DSM over the years, I have taken a pay cut. It makes no sense.
It is good news regarding pay. The pay comparison for the same roles on Broadway are vastly different. When I played a main role in a West End musical, my weekly wage was poor. In fact, when I reprised the role in a European arena tour I got the same per show as I received per week in the West End. How on earth is this correct and balanced?
When audience members pay a premium for West End tickets and performers work towards being in the West End for many years, why do we often have to teach and do other jobs in the daytime to subsidise our living costs? I have worked in musical theatre for 21 years and my lowest paid jobs have been West End musicals. This is not right or fair or balanced. People spend their lives training and aspiring to be in West End musicals – the wage does not reflect the success. Unless you are a TV name of course – that’s where the money goes.
This interesting article about what the industry wants from musical theatre graduates, included lots of different people’s opinions that pretty much all agree with each other.
You could remove “musical theatre” from the title and it would apply to any recruiter/interviewee situation, graduates or otherwise.
I was once told: “A job interview is just another business conversation between two equal parties. Both are trying to establish whether the other has side what they are looking for.” It was excellent advice that I’ve passed on at every opportunity.
Regrettable as it is, the current disposal of skilled theatre critics is a symptom of modern newspaper life, with circulation dwindling so that proprietors cut expenditure as and where they can.
Alas, the technical expertise of gifted critics whose raison d’être is theatre, will never be adequately replaced by ad hoc substitution.
During this afternoon’s performance of The Light in the Piazza at the Southbank Centre, understudy Molly Lynch took the part of Clara Johnson at an hour’s notice as the result of Dove Cameron’s throat problems. Molly, and the principal Renée Fleming, rightly received a standing ovation at the end of a wonderful show – and for me, there was the added bonus of Fleming signing my programme afterwards.
The review of Rutherford and Son was incorrect in saying it was last revived four decades before the National Theatre production in the 1990s.
The play was rediscovered in 1980 and performed Upstairs at The Royal Court where I saw it. I believe it then went on a national tour.
It’s a pity that this part of the play’s history seems to be overlooked.
Too many Equity members are willing to undermine action on unpaid work. Without a proper framework in place, it’s impossible to do much to stop actors being used, or rather stopping actors allowing themselves to be used.
We have to distinguish between the perfectly genuine collaboration projects and those that just claim to be. There are too many actors who want to take no-pay jobs, even those knowing there should be a proper pay rate.
May I thank The Stage for the humbling profile by Nick Higham and the nice follow up letter from Alexander Jules. And indeed, all those who have responded to my retirement.
“We need to rally together, unite our forces and champion our industry as a whole. We need to put theatre at the heart of popular culture, where it belongs. Its reach should extend way beyond the culture pages of broadsheets. We should be sparking and fuelling conversations in playgrounds and around water coolers.” Ambassador Theatre Group’s chief executive Mark Cornell (speaking at UK Theatre’s Theatre and Touring Symposium)
“I can’t sing. The only time I’ve ever sung was with the Muppets, which gives you a rough idea of what they think of me.” Actor Michael Caine (Smooth Radio)
“It’s interesting having children in the audience. They are the toughest to please; if they are not interested, you know right away. They look around, they make noise. But it’s very rewarding when you can get them to concentrate and absorb the narrative.” Choreographer Arthur Pita (Times)
“At no time did I stand in the first day of rehearsal of a play and have anyone say to me: ‘Could you do what you did in that last play, just do it here?’ Which is what Hollywood’s all about. ‘Do you have a brand yet? Do you have an image yet? Can you play to that? Don’t deviate from that, it’s not why we hired you.’” Actor Jeff Daniels (Time magazine)
“I would love to feel that I was in a situation where I could choose, but that’s not the way it works. I do try to think if I can afford not to do something I don’t want to do, and if I can, then I don’t do it. But the consequence of that is that you can be unemployed, it can make you feel ghastly, because you wonder if you will ever work again. It’s worrying and frightening. Just because I’m older, I’m not ready to ease off. I’m interested, I want to do stuff.” Actor Lesley Sharp (Guardian)
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