In 1916, Fred Niblo wrote in Equity Magazine, “The pride of art is really a wonderful thing…but the moment you allow it to break out and run wild, it becomes a serious menace to the dinner table.” When Equity was first formed, many actors refused to see themselves as workers. As an actor at an early membership meeting commented, “What we have

cannot be capitalized. What we give cannot be weighed and measured!” This has always been Equity’s struggle: to be seen, not as self-denying ascetics who care only for Art with a capital “A,” but as people who work for a living, proud workers who deserve the same consideration and respect as anyone else.

Whether it’s standing against segregation both in the audience and on stage, fight-ing the blacklists of the 1950s, banding

together to stem the tide of AIDS, advocating for non-traditional casting, funding for the arts, affordable housing and healthcare, collective bar-gaining rights and marriage equality, the members of Actors’ Equity have worked together for a century to earn that respect. So whenever you go to an audition, start rehearsals, call a cue or take a bow, Equity stands behind you. Working together for the dignity of all those connected with the art of the theatre, the struggle will continue…

Before Actors’ Equity, actors and stage managers had little control over their careers or even their lives. Rehearsing without pay, being stranded throughout the country after shows closed on the road, paying for their own costumes, and far worse abuses; this was an actor’s life before May 26, 1913. On that day, 112 actors gathered at the Pabst Grand Circle Hotel in New York City to form a union. William Courtleigh had suggested the name that seemed to encompass what they were fighting for: Actors’ Equity.

For the next several years, Equity struggled for recognition against producers, managers and even some of its own uncertain membership. In 1917, an agreement was reached, but very few producers used it. When Francis Wilson, Equity’s first President, asked a manager when he would start to use the contract, the producer’s reply was very simple: “When you make me.”

In 1919, Equity made them. Broadway went dark for the first time as a general strike was called. During a long, hot August, 37 productions were closed down at a loss of $3 million. The producers finally recognized Equity and signed a binding five-year agreement. Before the strike, Equity had 2,777 members; after the strike, it had grown to 14,000.

“We hereby constitute ourselves a voluntary Association to advance, promote, foster, and benefit all those connected with the art of the theatre and particularly the profession of acting and the conditions of persons engaged therein…” - from the Preamble to Equity’s Constitution, 1913

EQUITY AT A GLANCE

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WHAT DO I GET? Contract Benefits

• Equitable Salary Standards: The primary focus of Equity’s work for 100 years: the fundamental right of fair treatment in terms of minimum salary, compensation for additional duties, overtime and extra performances.

• Work Rules: With ever-evolving stage technology, Equity monitors and addresses safety issues like raked stages, smoke and haze exposure and sanitary rules, as well as limits on rehearsal hours, media promotion and publicity.

• Guaranteed Paycheck: Equity requires most producers to post a bond to ensure payments. This means that even if a show closes or a producer defaults, you still get paid and you still get home.

• Audition Access: Equity has negotiated required auditions for principal and chorus performers. Audition notices are posted on Equity’s website and on Casting Hotlines in various Liaison cities. Annually, over 1,300 audition calls are held in New York, Chicago and Los Angeles, while hundreds more are held in other cities.

• Pension And Health Plans: Since 1960, Equity has required producers to contribute to pension and health trust funds.

Equity is there for you: From unemployment and workers compensation claims to Volunteer Income Tax Assistance (VITA), Equity has always been in the forefront in helping with the struggles of actors and stage managers.

WORKING FOR YOUDispute Resolution: Equity protects you through grievance procedures and binding arbitration. Let Equity help!

Arts Advocacy: Equity's current affairs agenda cuts across theatre specific issues focusing particularly on parity for theatres in government funding for the arts and the development of universal, affordable health insurance.

Creating Equal Opportunity: Equity has always been in the forefront of struggles against discrimination and has led the way for decades in the fight for non-traditional and inclusive casting. Casting policies designed to expand opportunities for women, seniors, actors of color and performers with disabilities are provided in all agreements.

Agency Regulations: Equity Franchised Agents are agents who have agreed to terms set forth under the Equity Agency Regulations. These regulations provide protective rules and conditions such as a commission schedule, termination agreements, as well as a host of other terms. Equity members may access the directory of Franchised Agencies in the Member Portal section of the Equity website. Personal Managers differ from Agents in that they are not franchised/regulated by Equity.

WHAT AND WHO IS EQUITY?Actors’ Equity is the national union of over 49,000 stage actors and stage managers working in the professional theatre (it does not have locals, as do many other unions). Equity seeks to advance, promote and foster the art of live theater as an essential component of our society. Equity negotiates minimum wages and working conditions, providing a wide range of benefits including health and pension plans. AEA is directly chartered by the AFL-CIO and is also affiliated with Federation Internationale Artistes (FIA), an international organization of performing arts unions.

As a representative democracy, Equity is governed by members, for members. Its chief policy-making and governing body–the National Council–is elected by the membership and is composed of working Actors and Stage Managers. Equity Officers and Councillors serve without compensation.

Equity’s strength is founded in the unity of purpose and mutual support of the members and common concern for the needs of the challenging profession. In everything from equitable salary standards to safety conditions, from pension to health to a decades-long battle against discrimination, Equity has fought time and time again for the dignity of the performer. As a professional, Equity is your collective voice.

WHAT DO I GIVE? Member Responsibilities

• Never rehearse or perform without a signed Equity contract.

• Pay your dues on time (May and November).

• Keep your contact information up-to-date and register for the Member Portal section of the website.

• Give your best possible performance.

• File a copy of your contract with Equity no later than first rehearsal.

• Make no unauthorized changes in performance, costume, make-up or hairstyle.

• Be on time for rehearsals and the scheduled half-hour.

• Notify the stage manager before half-hour if you are ill or unable to reach the theatre in time.

• Equity is member-driven. BE INVOLVED!

Did you know that... Fifteen percent of our members work primarily as Stage Managers, coordinating the production during rehearsal and performance periods and maintaining the artistic intentions of the director after the opening of the show. They maintain the prompt book, cue sheets and other records that are essential to the running of a show, and they are a vital part of AEA.

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CONTRACTSEquity negotiates agreements with employers on behalf of its members. Prior to Equity, most actors worked without contract or security of any kind. Denouncing this state of affairs, AEA founder Frank Gilmore said bitterly, “Ours is not a profession. It isn’t even a trade. It hasn’t even the dignity of a vocation. It’s only a job! And half the time we don’t get paid for it!” Equity’s purpose has always been to change this: to create

a binding contract that would provide security for the actor, stage manager and the employer. Today, Equity negotiates and administers more than 35 national and regional

contracts which cover jobs in three categories: Principal, Chorus and Stage Manager. The Principal contract (sometimes referred to as a “white contract”) is used for all principal actors and most stage managers. The Chorus contract (sometimes referred to as the “pink” contract) is used for those actors who are primarily performing chorus work.

When should I file my contract?A copy of your contract should be filed with Equity no later than first rehearsal.

HOW DO I GET INVOLVED?Throughout the history of Equity, single strong voices have often made the difference. Equity is a member-driven organization: from committees to Regional Boards, from Council to the President, members run the show! Once you earn your Equity membership, there are many ways you can become involved:

• Let Your Voice Be Heard: The website and Equity News often become a forum on issues facing Union members. Equity officials are quick to reply to questions and concerns.

• Attend An Equity Meeting: Attend a membership meeting in an office or liaison city.

• Vote: It is the right and duty of all Equity members (age 12+) to vote in annual elections.

• Join A Committee: There are national and regional committees dealing with issues from chorus affairs, to stage managers, young performers, contract areas, EEO, filming and taping, agency regulations and more. If your city is one of the 27 Liaison areas join your Liaison Committee and participate in local events.

• Run For Office: Equity is governed by its members. Elections are held on an annual basis. Elected Officers, Councillors, and Board members receive no compensation for their many hours of service.

DUES FEES AND MEMBERSHIPEquity is completely funded by members’ initiation fees and dues. After earning your membership, Equity’s initiation fee must be paid in full within a two-year period. Equity dues are paid in two ways: basic dues are paid each May and November; working dues, a percentage of your gross salary income (which does not include contractually-mandated per diem) is automatically deducted from your paycheck by your employer on your behalf.

Whenever you decide that the time is right to earn your Equity membership, you will be joining a long line of theatrical artists who have shown the world that acting is not only a job, but a profession of influence and dignity.

“What’s in a name?” As an actor, your name is everything-just ask Edna May Gilhooley, Alphonso D’Abruzzo, or Lauren Anne D’Ambruoso (that is, Ellen Burstyn, Alan Alda and Lauren Ambrose). Because names are so important to an actor, Equity cannot issue you a professional name that is identical (or similar sounding) to that of an already current member. If a conflict exists, you will be advised when you join.

HOW DO I FIND OUT MORE?An informed membership is a strong union; information is the lifeblood of Actors’ Equity. Equity members catch up on the latest news from a variety of sources:

• Equity News: Equity News offers reliable and detailed news, updates on contract negotiations and articles placing today’s news in historical context. Equity News serves as a forum for Council elections and features expansive coverage of Equity members and Equity theatres around the country.

• Actors’ Equity Website: At www.actorsequity.org, Equity members can access Casting Call 24/7 for current audition notices as well as update their member contact and financial information. Other features include news from each of Equity’s regions, crucial announcements, touring and negotiation updates, im-portant events and meetings, an extensive document library of Equity agreements and codes, alerts about non-Equi-ty productions, a year-by-year timeline of Equity history and, of course, the Gypsy Robe.

Don’t miss out on a gig! Make sure your contact information is up-to-date. You can manage your Profile in the Member Portal section of the website.

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NATIONAL/EASTERN OFFICE165 West 46th St.New York, NY 10036 212-869-8530

CENTRAL REGIONAL OFFICE557 West Randolph St.Chicago, IL 60661312-641-0393

WESTERN REGIONAL OFFICE5636 Tujunga Ave.North Hollywood, CA 91601323-978-8080

ORLANDO OFFICE10319 Orangewood Blvd.Orlando, FL 32821407-345-8600

Regional OfficesAlbany AtlantaAustin/San Antonio BostonBuffalo/Rochester Cincinnati/Louisville ClevelandDallas/Fort Worth DenverDetroitFlorida - Central Florida - South HoustonKansas City Las VegasMilwaukee/Madison Minneapolis/St. Paul NashvilleNew Orleans Philadelphia Phoenix/Tucson PittsburghSan DiegoSan Francisco Bay Area SeattleSt. LouisWashington DC/Baltimore

Area Liaison CitiesEquity’s governing and administrative structure is divided into three regions: Eastern, Central and Western. Equity maintains offices and staff in NYC, Chicago, LA, and Orlando. Area Liaison cities are home to Liaison committees which provide an outlet for area involvement and a communications link to the regional and national offices.

Photo credits 1. AEA Strike March, 1919; 2. Eric Hoffmann, Bruce Turk, MERRY WIVES OF WINDSOR/Old Globe (Craig Schwartz); 3. Kitty Lunn, Infinity Dance Theater (Dan Demetriad); 4. Starlight Theatre, Kansas City (Mark McDonald); 5. Meghan Andrews, Lois Smith, THE TRIP TO BOUNTIFUL / Goodman Theatre (Michael Brosilow); 6. Atlanta AEA Members and Equity Membership Candidates; 7. PHANTOM OF THE OPERA, record-breaking performance #7486 (Joan Marcus); 8. LEAGUE OF NA-TIONS/Mixed Blood Theatre (Rich Ryan); 9. BLACK BROADWAY: A MUSICAL CELEBRATION, Western EEOC Black History Month Celebration; 10. SHEER MADNESS, 9000th Performance, Kennedy Center (Scott Hammar); 11. Cape Playhouse, Dennis, MA (courtesy of Cape Playhouse); 12. Kyle Harris, Alisa Schiff, Christine Hope, Michael Sample, DREAM A LITTLE DREAM/Florida Stage (Ken Jacques); 13. Tommy Batchelor, Gregory Jbara, Kiril Kulish, Trent Kowalik, BILLY ELLIOT, Stephen J. Falat Basket Proj-ect (John Quilty); 14. Naomi Hubert, Jarrod Emick, CONTACT/North Shore Music Theatre (Paul Lyden); 15. South Florida AEA members, Habitat for Humanity Project; 16. Jennifer Cody, Gypsy Robe recipient, SHREK THE MUSICAL (Walter McBride); 17. SEVEN BRIDES FOR SEVEN BROTHERS/The Muny (Herren Photography)

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)“I love performance. That time when the human beings onstage interact with the human beings in the audience and together they create the event of performance. It’s one of life’s most civilized experiences. It has been said that an Actor must have the hide of a rhinoceros, the courage and audacity of a lion, and most importantly, the fragile vulnerability of an egg. Actors are survivors… “– Robert Prosky, Equity Member for 52 years

“From the smallest summer stock playhouse to Broadway, the theatre gives our people a strong, personal bond with the ideas and ideals of our civilization… It gives our

best creative minds a forum, and gives all of us a much-needed diversion.

– John F. Kennedy, on the occasion of Equity’s 50th Anniversary

Actors’ Equity, in obtaining for its members increased recognition and dignity, has greatly

strengthened the American Theatre.”

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