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Caring for Actors
Creating positive relationships with your onstage
representation
Actors are one of the most valuable and certainly one of
the most visible parts of the theatrical experience. They represent our plays
and musicals in human form, taking the material from words to action. They
bring in audiences and keep our theatres running. As one of the most unstable
careers in the world, acting is difficult and sometimes daunting work, both
professionally and personally. It takes talent, perseverance, and a certain
personality to be successful. As a producer or artistic director, you want
these actors to represent your theatre in the best ways possible – both
onstage and off. How do you satisfy both your art and your actors?
Actor treatment
Erin Cronican is a union performer and business coach for actors through her
company, The Actors' Enterprise, in New York City. She has experienced and
heard many a story from performers about less than desirable treatment.
It begins during the casting process, where actors are kept as long as six
hours before auditioning. Cronican says a theatre representative asking for
patience or offering an explanation can soothe edgy performers.
Some of the more prevalent complaints from actors have to do with theatres
trying to get around Actors’ Equity regulations by denying regular breaks
(or giving AEA actors breaks and making non-union actors work through), belittling
the union and making snide comments about its rules, or allowing unacceptable
behavior from stars while marginalizing other actors.
Cutting corners in various areas by asking union actors if they can “work
with me on this” is another grievance. Cronican says occasionally theatres
blacklist actors if they don’t comply.
“Actors are sometimes treated badly because the theatre's artistic administration
is more focused on marketing budget and capital campaign than on creating
an artistic home,” notes Neil Thackaberry, artistic director at Actors’
Summit in Hudson, Ohio. “Artists, not administrators, start theatres.
As theatres mature, however, administrators gradually take control. When budgets
are tight, the first things cut are the number of actor contracts or rehearsal
length. Because actors don't sit on boards of trustees, they don't have advocates
in budget discussions.”
Transparency and treating actors like humans, instead of the “cattle”
to which they are impolitely compared, goes far. If an actor has a choice
between a theatre paying $400 per week but which treats actors poorly and
a theatre paying $300 per week that treats them well, they would likely opt
for the latter. Cronican says, "No one in theatre is getting paid what
they are worth (actors, directors, designers, crew, etc.). If a theatre creates
a positive environment, stressful situations – long hours, low pay, artistic
differences – can be handled because the ‘teamwork feeling’
is fleshed out and rich."
Problem actors?
“There’s a saying that people act either out of love or fear,”
says Scot Whitney, managing artistic director of Harlequin Productions in
Olympia, Washington. “If an actor becomes a problem or is difficult,
it’s usually because he or she is terrified. I try to help them release
fear and embrace the opportunity to do something wonderful. Do you want the
drama to be in putting up the show or in the product you present to audiences?
You don’t get magic with a whip. I would advise theatres to appreciate
their actors—they are doing the real work on stage.”
Cronican says actors sometimes bring problems on themselves by not showing
up on time, quitting a production when things aren’t going well, or leaving
prematurely when a better paying job appears.
Artistic director Curt Columbus at Trinity Repertory Company in Rhode Island
says they bring on actors for the long haul and challenging issues are dealt
with as a functional family. “Behaviors develop over time and you talk
and fight it out. Just like a family, we know and are familiar with each other.”
“Since we're a professional theatre, our actors conduct themselves as
professionals,” Thackaberry relates. “We've never really had a problem
with someone committing to a show. All our regular performers know that if
they get a better paying gig, which has happened several times, we'll release
them and wish them good luck. Our purpose is to advance actors’ careers.
Conflicts usually grow out of communication problems. I've also found that
peer pressure of long-time company members helps resolve problems.”
Solutions
Whitney feels each actor is an important part of the collaborative, creative
process. “I have lots of good ideas, but I don’t have all of them,”
he insists. How does Harlequin, a non-union theatre that since 1994 has used
Equity’s Guest Artist contracts, take care of its actors? “Our theatre
supports them in every way we can,” states Whitney. “We keep dressing
rooms clean, and we are organized. We produce costumes, lights, and sets that
make actors shine—you can’t have great actors and cardboard sets.”
To attract talent, the theatre also produces shows in which actors want to
perform.
Cronican cites a California theatre that assigned one board member to each
actor. The member would give the actor a small gift each week and at the end
of the run, the two would meet. The theatre also involved its actors in volunteer
event parties, making each actor feel appreciated.
As a director, Thackaberry works hard to not have people sitting around at
rehearsals. “I do a detailed French scene chart and detailed rehearsal
schedule with staggered calls. When actors are called, they know they will
work, and they know what they'll be doing.” In early rehearsals, notes
are given orally. Once run-throughs begin, he emails notes to actors the morning
after rehearsal. “It's a form of discipline, so I don't turn the note
session into the fourth act starring the director.”
“If there is a problem in a union house, there is a process for airing
it – a chain of command that needs to be followed so both actor and theatre
are informed and satisfied,” Cronican advises. That way, when there are
difficulties, actors don’t react defensively. Grievances can be aired
and dealt with thoughtfully and through proper channels. “Otherwise there
is the possibility that problems could be aired at the wrong place and time
and to the wrong person.” This does nothing more than alienate actor
and theatre.
Maria Somma, spokesperson for Actors’ Equity Association, says the best
way for a theatre to establish a win-win situation is to fully understand
the contract—which has been put together in negotiations with the union
and theatres like themselves. If there are any questions, AEA business agents
who administrate the contracts are available for input.
Is resident theatre the key?
Actors at Trinity Repertory are a family, says Columbus about this resident
theatre. “Some of our company members have been with us for decades.
We have about 15 actors who do at least three shows a year here. Actors leave
to do other things and come back. For some, Rhode Island is their home, and
they want to work here.”
Some theatres think that growing a rep company is more expensive. Columbus
disagrees on several levels. “On the financial side, although we pay
actors more than LORT minimum, we don’t have to pay airfare for a casting
director to constantly recruit new actors. And establishing long-term relationships
with actors helps us develop work and grow our actors. Also, once they know
they are ‘with us,’ actors feel better about discussing the show
candidly with the director. Theatre is hand-made, not machine-made. It needs
nurturing. A rhythm develops over time.”
He adds, “Resident actors don’t have to take the time to market
themselves for the next show, and you have their complete attention to the
work.” It would seem actors who are focused on the production turn around
a better product and, hence, attract audiences, which turns into better box
office. “Actors here aren’t looking to be famous—they’re
looking to be good,” Columbus includes.
Actors’ Summit has been developing a company of actors over the last
nine years. “We try to involve one or more ‘new’ actors in
each production, but the majority of the cast are people with whom we've worked
before,” Thackaberry tells us. “This makes for a fundamentally different
set of relationships between actor and director, as well as among the actors.
One of our AEA actors recently performed in her 20th major role with us in
nine years. One actor, who came to us at an open audition, worked here for
eight years. He started playing small walk-on parts. Last year, I wrote a
solo show for him which became our most successful production to date.”
Thackaberry submits, “No professional dance company or orchestra would
think about mounting a major production with a pick up group of performers
they put into rehearsal just before the performance, yet theatres do it all
the time.”
Recommendations
When Thackaberry headed up a professionally staffed community theatre, he
found it helpful to put together an actors’ handbook. This ensured new
actors understood rehearsal procedures, actors' responsibilities, expectations,
and even suggestions for systems of noting blocking, because in community
theatre you never know the individual’s background or training.
“Equity actors should be professionals,” he says. “I have been
known to take Equity actors aside and remind them that they are a role model
for the other actors in the production. When you expect the best from actors
and call them on it when they don't deliver, everything falls into place.
“I love actors – they are amazing,” asserts Whitney. “I
want to tell a story, and they can make my dreams come true. We find ways
to respect their processes and work with them to nurture their performances
so they do their best work. Actors do it because they have to. Why would someone
not appreciate what actors are doing for them? The idea that they are expendable
is a fallacy.”
Theatre’s world is a small one, as is any industry once you begin working
regularly within it--and word travels quickly. A healthy respect by management
for actors and vice versa is always advisable. When problems arise, an assertive,
professional demeanor goes a long way in establishing a win-win for all sides.
After all, what is more important than the life of your theatre and the satisfaction
you give audiences?
Want to discuss your actor relations?
Visit the DramaBiz Magazine forums at www.dramabiz.com/forum.
