Free #SOBLESSED: the Annoying Actor Friend's Guide to Werking in Show Business by Annoying Actor Friend @Actor_Friend

slippery
slope of desperation out of fear. We, as a union, seem to be afraid that if we
stand our ground and try to get things back to the way they were, everything
will end up non-equity. If that’s the concern, then let me present you with an
example of how a recent Equity tour, that in an effort to stay union, is not a
lot different from the non-union tour that started this mess in the first
place. Second place? #yes. #how. #hmm. #ugh.
    In the fall of 2013, a national tour launched
starring a household name that many people know from a famous 1960’s –
70’s TV show, but you might recognize from a show that was on the WB before it
became CW – and if you don’t know what the WB is, you’re dead to me. To
protect the integrity of this production, I’m going to change the name to
something completely random. Let’s just call it, Shmello, Shmolly! When
auditions for Shmello, Shmolly! were first published on
actorsequity.org, I was like, “Did I accidentally log onto The Onion? Is this
sarcasm?” The tour of Shmello, Shmolly! was slated to go out on a SETA
Category Six contract for $548 a week, in which it was to play a scheduled seventy-three
cities in six months. A 2011 – 2012 non-equity tour of a different
musical ( Shmiddler on the Shmoof ) played over ten cities less, in seven
months. Was this for real? Was there actually a universe where a non-equity
tour had less one-nighters than an Equity approved tour?
    At $548 a week, it would be criminal for your agent
to take 10% from your paycheck. Under the assumption they take only 5%, and you
loose an additional 15% to taxes and 2% to dues, you’re looking at banking
around $427 a week. I’m still trying to figure out how potentially forty hours
of travel, plus twenty-four hours of performances a week, is better than
working two shifts at an average New York City bar for the same amount of
money. All this talk about numbers is making me want to play a game of what the
kids call #throwbackthursday, and compare the conditions of Shmello,
Shmolly! with the 2002 non-equity tour of The Music Man .
    2002 Production Contract Minimum
    $1,250
     
    Alleged Non-Equity Salary
    $450 + Housing + $35 per diem
     
    Percentage of Production Contract Earned
    55.6%
     
    2013 Production Contract Minimum
    $1,807
     
      2013 SETA Category Six Salary
    $548 + Housing + $48 per diem
     
    Percentage of Production Contract Earned
    48.9%
    Getting the Chance to Perform and Share Your Gift
    Priceless.
    Based off those calculations, the cast of the non-equity
tour was closer to Production Contract than the Equity tour by 6.7%. If The
Music Man took place today, under the same conditions, it would be making
$121 more a week than Shmello, Shmolly! – if you adjust for
inflation.
    Obviously there are exceptions to consider; mainly
that The Music Man was a big First National and Shmello, Shmolly! was
never intended to be anything more than a small bus and truck. However, The
Music Man caused so much of a stink in each city it visited because of the limited salary the actors were being paid. Union members picketed
because it was non-equity, but the media made a bigger deal out of how little
the actors were being compensated when the audiences were still paying premium
prices. To add to the oddity of this entire situation, tickets for Shmello,
Shmolly! are (in some cities) only ten dollars cheaper than the average
ticket price of the next Production Contract tour that follows it. I think it’s
a little bit dated to keep blaming the economy, when the average ticket prices
on the road are often more expensive than on Broadway – regardless of how
high or low the tier of the contract. Audiences aren’t being given a cut. Why
should we have to take one?
    If we keep allowing concessions just for job
opportunities, it’s only a matter of time before the SETA Category Six goes
from being the exception, to the rule. We need to do something about it. And
like any good member of AEA, I’m going to