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Post by Guest11 on Oct 15, 2012 16:03:42 GMT -5
As we strive to build a reputation as a city that produces "professional" theatre, how can we improve on our professionalism with specific regards to contractual agreements between artists and the companies who hire them? Are there any particular strengths or weakness in the handling of contracts in RVA theatres?
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Post by anonymous on Oct 15, 2012 20:38:56 GMT -5
I think that there should be more theatre opportunities for high school aged actors. They really need more places to get experience and develop their craft.
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Post by Anon on Oct 15, 2012 22:40:28 GMT -5
Part of my two cents-
Strength: The fact that contracts are a common practice.
Weakness: There are too many instances of wool being pulled over artists' eyes by slipping undiscussed items into contracts. Actors, designers, techies, directors, musicians, stage managers, run crew, every last person deserves to know upfront what is expected of them and what they can expect from the organization.
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Post by TheatreXpert on Oct 16, 2012 8:04:41 GMT -5
I would like to see theatre companies take more time to both present and approach actors/designers/stage managers/etc. with contracts in a timely, professional manner. Too many times now, we are contacted through Facebook, or left messages on walls saying "Hey, interested in XYZ?" - of course this is an easy way to do it, and we're all guilty. But if a producer or director is interested, they should send a private email, or better yet, a phone call, and discuss hiring with said actor/designer/etc.
In addition, contracts should be seen and signed way before the start of first rehearsals. Giving actors their contracts after or at the first rehearsal is - at least in my opinion - lazy. Get it together, folks. We (collective "we") are entitled to know exactly what we're signing, the terms of the contract, money being offered, and allowed time to negotiate if need be, think about the offer, and make sure all "i's" are dotted and "t's" are crossed. When you hand things out at the first rehearsal, or paperwork is signed after the fact, you're kind of stuck. These things need to be taken care of before a company comes together. I would also think that would make the Producers of the shows feel more secure from a business end of things.
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Post by Crew on Oct 16, 2012 13:09:26 GMT -5
Getting contracts early is just as important for the crew. I've had the experience of receiving the rehearsal schedule with the first discussion (that's ideal), going online to get the performance schedule, receiving a printed performance schedule including the student matinees (not visible in the online schedule) during tech week, and receiving a contract as late as a week into the run with the first paycheck. It would have been nice to receive all the information upfront, and that's what I expect of a professional theater company. Don't get me wrong. I love theater, and enjoy being on crew. But, we can do better.
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Post by Anonymous on Oct 16, 2012 16:14:51 GMT -5
All the above is true. We can do MUCH BETTER with the state of contracts here. Theater companies here take advantage of the fact that they don't have agents and most of the time unions to deal with- just artists. And most artists don't ever want to say "no" or "That's not good enough." Most just want to work and not seem difficult. It's sad really, how we as artists shoot ourselves in the foot when it comes to contracts and pay. No theater company is ever going to do differently until the artists themselves demand it. In this town, there are just too many eager artists who will say yes to anything, and so none of the theatre companies have any reason to change what they do.
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Post by philcrosby on Oct 16, 2012 16:29:00 GMT -5
I guess as a theater manager, I am at a loss when I hear some of this anger about contracts. If we as managers not treating artists well, are the artists standing up and saying so? I am speaking of issues other than fee for service here. I would love to hear more -- honestly -- about where managers can be seen to improve.
Because certainly -- at least in our case -- we would never want to be seen as "pulling the wool over the eyes" of any artist we work with.
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Post by RVAer on Oct 16, 2012 18:44:46 GMT -5
I think we, as theater artists, are so eager to accept the opportunity to make a contribution to a production (be it as actor, designer, director, production staff, etc.) that we forget to protect our "business"---the business of OURSELVES and what that "business" is contributing to that particular production. We all have the good fortune to work with various companies in the area and thus, are not the employee of any one company but rather an artist making an agreement to contribute their time and talents. The terms that should be met are up to the artist to decide. The responsibility to affect change starts there. Sure, each company has a standard agreement that they hope the person they're after signs their name to but that doesn't mean they're the only terms one should submit to. Decide your worth and what it would take for you to be a part of the specific project at hand (especially in the absence of an agent or union membership). Will you have to take time off from work? Are there extra commitments outside of rehearsals and performances? The standards and practices of a company can be challenged by one person. If each individual were to at least challenge those standard agreements, ask more questions, and agree to terms no less than their worth, imagine the change that might be affected.
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