That Tall Blonde at the Callback — Work or Play?
I never plotted to run away to New York. Never earned a single equity point* (although I could have). Theatre was my minor in college, but I never entertained it being my major, and I didn’t choose my school for the theatre program or go through the college audition process (people have to audition to go to college — wha????) Throughout my youth, theatre was always squarely a hobby and not a career pursuit. And it still is. But that’s not to say I haven’t been tempted. Who wouldn’t want to make money doing what they love? And what they’d do for free anyway?
I’ve made stipends before at Woodminster and various other theaters that are able to offer $50–300 per show. It usually only covers some (but not all) of your gas money. I usually SPEND a few hundred per show in extra expenses. $90 ballroom dancing shoes, $19 tights, makeup, cast gifts. And that doesn’t even include any post-show nights out/drinks with the cast. All of that is on top of what you spent on nice headshots and cute outfits to even audition. I’m very blessed, and I’ve never had to pass on a show because I couldn’t afford the expenses. But I have MANY friends who have. And when I did a college show, I instantly won favor with the “kids” by ordering and paying for a big round of appetizers for the table of previously “just a soda” ordering starving students. Performing is an expensive endeavor, and sometimes nachos are just not in the budget!
So this post isn’t going to be about “should we be paying our actors?” That’s been written on a lot, and I love seeing that many theaters, such as Contra Costa Musical Theater, are working to offer a little something to everyone they cast. What I wanted to write about (because it’s been on my mind) is where the line is between work and play in my work in the theatre. And whether I EVER want to cross it. I think for me, in my privileged state, the answer is no. I like the “play”, and I don’t want it to feel like “work”. And I certainly don’t want to fill up one of my available slots taking a show I’m not really interested in just to make a big paycheck (which, in the Silicon Valley) is not big at all. I’ll take a stipend if offered (those shoes are expensive!), but it ranks SO LOW in my list of “am I interested in this show?” that it barely registers. Much higher on my list are how well I fit the role, how I will grow as an artist, the quality of the work at this theater, who I will work with, how easy it will fit my schedule, how far the commute will be, etc.
I had a recent dilemma, however, when an opportunity to audition for San Francisco Playhouse came my way. A regular there saw my performance as Joanne in Company at Altarena, and reached out to me to encourage me to submit in SF. He put me in touch with the casting director, with his recommendation, and encouraged me audition for Sondheim’s Follies, which they are producing next summer. I normally would pass on a show in the City. I normally would pass on a show with lots of double show days (8 shows a week!) I normally would pass on a show where I’d only be considered for ensemble (leads are all Equity and “known” professionals). But I adore this show. And how great would this look on my resume? And I’d learn SO MUCH. And meet and work with great people. And wait — I’d make a COUPLE GRAND during the run? Unheard of! Would it be worth it??? I had to give this one some deep thought and research before saying yes or no. I reached out to both the casting director and friends who had worked there with questions.
Yes, the schedule is grueling. Yes, it will feel like work. Monetarily, it would only be slightly profitable. What starts out as thousands is a LOT less after taxes, BART fees (which would eat the first hour of payment EACH and EVERY TIME I’d be called), and babysitting expenses for late afternoon/early evening calls before my husband is at home. But here’s the real kicker. Summer. Rehearsals start the day my kids get out of school. The run doesn’t end until mid-September. There would be no summer vacation as a family at all (at least not one with me — my family would likely go somewhere without me). My kids are getting bigger, with my oldest nearing middle school age. It’s likely my last summer with “kids” before I lose my oldest to her friends and teenage social calendars. I don’t think they can pay me enough to offset that.
So I’ll keep “playing” closer to home, in less prestigious places. If it feels like work, I’m out. Maybe priorities will change when we are empty nesters and I’m going for those “old lady” parts. But for now, I’m good. But, boy, is it nice to be noticed, and have the option of even considering it!
*To join the theatre union, Actor’s Equity Association (AEA), you need to be cast in semi-professional shows and you earn points each time you do. Candidates with enough points can then choose to join the union. Once you are union, you are ONLY able take union work, and you are paid union rates for that work. Many of the better local theaters have a few contracts per show to use on union talent. Most professional touring company shows use ALL Equity actors.
