About Equity - Actors' Equity

www.ac to r s equ i t y. o rg

ABOUT EQUITY

© 2010 Actors’ Equity AssociationAEBRO Revised 09/10

Table of Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Labor Affiliation . . . . . . . . . . . . . . . . . . . . . . . . . 3

Membership. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Professional Name . . . . . . . . . . . . . . . . . . . 6Payments . . . . . . . . . . . . . . . . . . . . . . . . . . 6Confidentiality . . . . . . . . . . . . . . . . . . . . . . . 6New Member Meetings . . . . . . . . . . . . . . . . 7Initiation Fee. . . . . . . . . . . . . . . . . . . . . . . . 7Dues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Other Information . . . . . . . . . . . . . . . . . . . . 8Loss of Membership . . . . . . . . . . . . . . . . . . 8Foreign Actor Rules/Alien. . . . . . . . . . . . . . . 8

Equity Benefits and Responsibility . . . . . . . . . . . . 9Bargaining Agreements . . . . . . . . . . . . . . . . 9Minimum Salary . . . . . . . . . . . . . . . . . . . . 10Work Rules . . . . . . . . . . . . . . . . . . . . . . . . 10Audio and Video Recording . . . . . . . . . . . . 10Contracts . . . . . . . . . . . . . . . . . . . . . . . . . 10Bond . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Pension and Health . . . . . . . . . . . . . . . . . . 11Disability and Unemployment . . . . . . . . . . . 12Auditions . . . . . . . . . . . . . . . . . . . . . . . . . 12Agent Regulations . . . . . . . . . . . . . . . . . . . 13Anti-Discrimination. . . . . . . . . . . . . . . . . . . 13Non-Traditional Casting . . . . . . . . . . . . . . . 13Equity News . . . . . . . . . . . . . . . . . . . . . . . 13Website . . . . . . . . . . . . . . . . . . . . . . . . . . 13Tax Assistance . . . . . . . . . . . . . . . . . . . . . 14Legislation . . . . . . . . . . . . . . . . . . . . . . . . 14Union Discounts . . . . . . . . . . . . . . . . . . . . 14

Member Professional Responsibility . . . . . . . . . . 15

Staff and Offices. . . . . . . . . . . . . . . . . . . . . . . . 17

Government and Organization . . . . . . . . . . . . . . 19Council . . . . . . . . . . . . . . . . . . . . . . . . . . . 19Open Meetings and Information . . . . . . . . . 20Regional Boards . . . . . . . . . . . . . . . . . . . . 20Elections . . . . . . . . . . . . . . . . . . . . . . . . . 21Committees . . . . . . . . . . . . . . . . . . . . . . . 21Area Liaisons . . . . . . . . . . . . . . . . . . . . . . 22Membership Meetings . . . . . . . . . . . . . . . . 24

Charitable and Support Organizations. . . . . . . . . 25Actors’ Equity Foundation. . . . . . . . . . . . . . 25The Actors Fund . . . . . . . . . . . . . . . . . . . . 25Actors Work Program . . . . . . . . . . . . . . . . . 25Broadway Cares/Equity Fights AIDS . . . . . . 25Career Transition for Dancers. . . . . . . . . . . 26Actors Federal Credit Union . . . . . . . . . . . . 26Union Plus Program. . . . . . . . . . . . . . . . . . 26

Historical Perspective . . . . . . . . . . . . . . . . . . . . 27

AppendicesA. Common Equity Terms . . . . . . . . . . . . . . 30B. Agreements and Codes . . . . . . . . . . . . . 34C. Income Tax Information . . . . . . . . . . . . . 44

Welcome! This handbook is designed for Actors’

Equity members and those in the theatrical

community who wish to know more about the

many benefits that Equity offers.

As actors and stage managers, we are rarely in

control of our own destinies. Equity is here to give

its members a united voice in determining basic

compensation and working conditions. Unions

reflect the concerns of their membership, seeking

solutions beyond the reach of the individual. Equity,

for more than nine decades, has led the way in

finding those solutions that create a decent life for

the actor.

Equity is a democracy; each member can have a

voice in the formation of Equity contracts and

programs that pave the way for a dignified and

rewarding career as an actor or stage manager.

I invite you to participate by joining committees and

attending membership meetings and contract

negotiations. For more detailed information, please

see Equity’s Constitution and By-Laws, rulebooks,

or visit our website at www.actorsequity.org.

Have a say in the future of the union. Have a say in

your future.

3Labor Affiliation

In t roduct ion

If you are a professional stage actor or stagemanager, you want to be a member of Actors’ EquityAssociation. We are the Union that supports,promotes and fosters the art of professional theatre.Our members can be found performing in all kinds oftheatrical venues: on Broadway, in regional theatres,in Disney World and in small professional theatresthroughout the United States. We are the Union thatprotects artists while they practice their craft…theirprofession.

Actors’ Equity Association began in 1913 with a fewactors banding together to end the exploitation of thestage performer. By 1919, Equity became strongenough to organize a strike that crippled thetheatrical scene and forced producers to finallynegotiate. When you join Equity, you receive thebenefits for which those members originally fought.

Your Equity card grants you full access to thebenefits, resources and safeguards negotiated byEquity over nearly a century of vigilance. Thoseprotections ensure our members participate intheatrical activity that meets a professional standard.That’s why we don’t do non-union work.

Equity is a member-driven, self-governing and self-supporting labor association, funded by members’dues and initiation fees. The Union acts as thecollective voice of its members.

In this handbook, you will discover the inner workingsof Actors’ Equity Association. About Equity is yourpassport to a powerful theatrical community of morethan 49,000 members.

Equity is a member of the American Federation ofLabor and Congress of Industrial Organizations(AFL-CIO). The AFL-CIO is the umbrella organizationfor a federation of unions. It gives voice to legisla-tive and social issues of the American worker.

All of the major performing artist unions are a partof the AFL-CIO. Although autonomous, these sisterunions are part of the Associated Actors andArtistes of America (4As).

Equity is the member of the 4As that coversprofessional stage actors and stage managersperforming in plays, musicals and revues on thelegitimate stage. The Screen Actors Guild (SAG)covers film, television and digital media. AFTRA, theAmerican Federation of Television and RadioArtists, covers actors and announcers in television,radio and digital media. The American Guild ofMusical Artists, AGMA, covers opera, dance andconcert performances. AGVA, the American Guild ofVariety Artists, covers nightclubs, arena shows andice shows and Guild of Italian-American Actorspromotes the positive images of Italian Americansin the mass media and popular culture.

Equity: nearly acentury

of vigilance2 Introduction

AFL-CIOAmerican Federation of Labor and Congress of Industrial Organizations

4AsAssociated Actors and Artistes of America

AEA SAG AFTRA AGMA AGVA

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5Membership

Membersh ip

The Equity card is the symbol of a commitment toa theatrical career and represents the higheststandards and responsibilities of professionalism.Those who choose to become members commit torepresenting the theatre, and themselves, withintegrity and dignity.

Eligibility. You may apply for membership by anyone of the following methods:

Equity Contract. You may join the Association bybeing offered employment under an Equitycontract. Applications for joining Equity in thatmanner are only valid during the term of thecontract. Certain contract types also have alength-of-employment requirement before amembership application becomes valid; theMembership Department will advise you at the time of joining. The Equity Council may also authorize eligibility for membership underspecial circumstances.

4As (Associated Actors and Artistes of America)Affiliation. Membership is also available if youare a prior member in a performing arts sisterunion (such as SAG or AFTRA). Applicants mustbe members in good standing of the sisterunion for at least one year, and must have

4 Labor Affiliation

Each union has its own niche and understands theconcerns of its members. The 4As supportsdecisions of its sister unions and offers a collec-tive voice for performing artist labor issues.

Equity is affiliated with various state and city labor federations in cities where it maintains offices. Equity is also a charter memberof the AFL-CIO’s Department for ProfessionalEmployees, and an affiliate of the FederationInternationale des Acteurs (FIA), an internationalorganization with members from 54 countries thataddresses problems of performers worldwide.

As the result of an amicable separation betweenEquity and Canadian Actors’ Equity Association in 1976, a reciprocal membership and touringagreement exists between the two unions. Equityalso maintains a close relationship with U.K.Equity. In the 1980s, U.K. and American Equityestablished an exchange agreement that strives toprovide a balanced flow of theatrical performersbetween England and the United States.

Actors’ Equity Association is empowered by its alliance withother major performing artist unions within the AssociatedActors and Artistes of America (4As) and with all Americanunions, represented by the AFL-CIO.

7Membership

New Member Meetings. Scheduled sessions fornew members are regularly conducted to provideimportant information about Equity and thetheatrical profession.

Initiation Fee. Equity’s initiation fee is currently$1,100 and must be paid within a maximum two-year period. All membership privileges, includingthe right to vote and attend meetings andEquity–only auditions, commence upon the initialpayment of $400 towards the initiation fee withinsix months of the filing of your application.

If you are working under an Equity contract at thetime of joining, authorization for dues and initiationfee deductions from your weekly salary appears onthe face of the Equity contract. Weekly deductionstowards the balance due will be made from yoursalary according to a schedule available at theMembership Department. (These deductions willcontinue while you are employed until the full initiation fee is paid.)

If you are joining Equity through 4As affiliation orthe Membership Candidate Program, the minimum$400 initial payment is due with your application.

If your parent union (the first performing artistunion you joined) is AGMA, Canadian Equity, orGIAA you may be eligible for a reduction in theEquity Initiation Fee based on the amount of theinitiation fee that you paid to your parent union.You will be advised of the amount of this reductionby the Membership Department at the time yousubmit your application.

6 Membership

worked as a performer under that union’sjurisdiction. You must submit proof of thatemployment: for example, a copy of thecontract or a written statement by the parentunion indicating the type and date of yourcontract. This sister-union policy is notapplicable to non-resident alien performers.(See Foreign Actor Rules/Alien on page 8.)

Equity Membership Candidate Program (EMC).This program permits actors and stagemanagers to credit theatrical work in anEquity–approved theatre towards eventualmembership in Equity. After securing a positionat a participating theatre, you may register as acandidate. The registration fee will be creditedagainst any future initiation fee when youbecome eligible for membership. Eligibilityunder this program requires a total of 50 weeksof EMC work (over any amount of time) at oneor more participating theatres.

Professional Name. All performing arts unionsgenerally prohibit the issuance of a professionalname that is identical (or similar sounding) to thatof an already current member of the union. If aconflict exists, you will be advised at the time thatyou submit an application to join Equity that youmay have to change your professional name.

Payments. Initiation fee payments accompanyingyour application should be made in the form of a certified check or money order. If you pay bypersonal check, your application will be held untilthe check clears your bank.

Confidentiality. The personal information ofmembers is treated with the strictest ofconfidence, and Equity rules prohibit the release ofany such information. Always maintain up-to-dateaddress and telephone numbers with the officenearest you. Equity’s computer system provides formultiple address and phone number listings. Youmay provide an agent’s number, service numbers,or any other contact data that you authorize forrelease to bona fide employers or casting agents.

No matter how you join, be aware that yourmembership, and any monies paid, will be

forfeited should you fail to completepayment of the full initiation fee within a

two-year time period.

9Equity Benefits and Responsibility

Respons ib i l i ty

The dues collected go to pay for the benefits andservices of union life. The following are some of themajor benefits that Equity has successfully securedover many years of struggle. Some benefits areprovided when working on a contract, while others areprovided to all Equity members.

Bargaining Agreements. Through collective bargainingwith theatrical employers, Equity establishes basicwages, benefits and working conditions and enforcesthe many provisions of its collective bargainingagreements (generally referred to as rulebooks).Go to our website, www.actorsequity.org, for annualearning statistics of actors and stage managers.

Equity agreements cover a wide spectrum oftheatrical venues, including:

Broadway

Touring Productions

Stock Theatre

Resident Theatre

Business Theatre and Events

Theatre for Young Audiences

University Theatre

Cabaret Theatre

Developing Theatre

Guest Artist & Special Appearance

In addition, there are many regional and local theatreagreements, such as: Disney World, Dinner Theatre,Western Civic Light Opera; Off-Broadway, and Chicago,San Francisco, and Hollywood Area Theatre. Eachyear, Equity negotiates numerous special contracts,and hundreds of individual letters of agreement.Theatrical codes, such as the New York City BasicShowcase Code or the Los Angeles 99-Seat TheatrePlan, are also administered by Equity.

8 Membership

Dues. Equity’s dues structure has two components:Basic Dues (currently $118), payable semi-annuallyeach May and November; and Working Dues, whichare deducted from your weekly gross earnings.Gross earnings do not include the minimum portionof out-of-town per diem expense monies. Themaximum Equity earnings subject to the Work Dues(currently 2.25%) is $300,000 a year.

Other Information. Upon Equity’s receipt of yourcontract or your application form, a package ofimportant information, including About Equity(you’re reading it now!) and the Equity Constitutionand By-Laws, will be sent to you.

Loss of Membership. If you are delinquent in thepayment of dues for a period of two years, and you did not apply for inactive status, you areconsidered out-of-benefit and membership isautomatically terminated. In order to rejoin Equity,you must secure a new contract and pay a newInitiation Fee. Members are therefore stronglyurged to remain in good standing with Equity.

Foreign Actor Rules/Alien. There are certaineligibility restrictions that are applicable to Non-Resident Aliens. You will need to submit proof ofU.S. citizenship or Resident Alien status with yourapplication for membership if you were bornoutside of the U.S. If you are not a U.S. citizen orU.S. Resident Alien, you may join Equity only byvirtue of employment under an Equity contract,where such employment has been approved byEquity, or where the employment contract wasaccepted by Equity pursuant to certain valid govern-ment-approved work authorization papers. Thereare, however, special reciprocal membership rulesbetween American Actors’ Equity Association andCanadian Equity.

American Actors’ Equity Association negotiated a reciprocal membership and touring agreement with Canadian Actors’ Equity Association as well asestablished an exchange agreement with U.K. Equity.

Equi ty Benef i t s and


insolvent, you will, contingent upon the proper filingof your contract, receive the minimum amount ofsalary and pension/health credits guaranteed bythe agreement (two weeks of salary and benefits inmost agreements).

Each office reviews the contracts received on aregular basis, and, based on the actual number ofcontracts filed, recalculates the amount of bondthat is necessary. In seasonal theatre operationssuch as Stock or Resident Theatre, it is particularlyimportant to file a copy of your contract with Equityimmediately. If you do not, and the production ortheatre closes suddenly, you may not receive yourguaranteed minimum.

Pension and Health (Equity-League Trust Funds).Health insurance coverage and pension benefits,requiring employer-only contributions, are essentialprovisions of most agreements.

Health Plan. Eligibility and coverage areprovided based on a minimum number of weeksworked on an Equity contract.

Pension Plan. Credit towards pension accrueswhen you are employed under contract, inaccordance with the specific rules of the PensionPlan. Retirement benefits are generally based onthe number of years you are active and on yourtheatrical earnings during those years.

The rules and benefits of the Health andPension Plans are complex and subject tochange. Brochures outlining all the necessaryinformation in specific detail are availablefrom the Equity-League Fund office, which is

10 Equity Benefits and Responsibility

Minimum Salary. Although your salary cannot be lessthan the minimum established in the applicablerulebook, you may, of course, negotiate for a salarygreater than the minimum. (Often, agreements willprovide for minimum salary during the rehearsalperiod and contractual salary during performance.)Overtime payments and additional pay for additionalwork or assignments are also required.

Work Rules. Limits on the number of hours you maywork in a day and week, as well as requirements forbreaks and days off, are set forth in the rulebooks.Also required are basic “safe and sanitary”conditions that ensure a safe workplace.

Audio and Video Recording. Recording may consist ofany taping, filming, digital recording or any otherelectronic or mechanic reproduction in whole or inpart of an Equity contract or code. This includesRecording for both commercial projects (documen-taries, television/radio/internet broadcasts, etc) andnon-commercial projects (including archivalrecording, and promotional/publicity purposes). EachEquity contract and code has varying degrees ofallowance for Recording. Always check theappropriate rulebook for what is permissible.

Contracts. Individual employment contracts must beproperly executed, with dated signatures by you andthe employer, and only the standard Equity contractforms may be used. All other agreed-upon termsmust be set forth in a rider to the contract. File yourcontract with the nearest office as soon as it issigned.

Agreements contain procedures for dispute resolu-tion, including the ultimate recourse to impartial andbinding arbitration. Grievances and claims should beimmediately referred to the appropriate Equitybusiness representative. Always consult the actualrulebook under which you are working or call thenearest Equity office with any questions that youmay have.

Bond. Before a production is mounted, mostemployers are required to post a bond with Equity.This bond ensures that if an employer becomes

“Governed bymembers,

the union benefitsfrom the

participation of all.”


Agent Regulations. Franchising regulations havebeen established that permit talent agents torepresent Equity members for theatrical employ-ment. The regulations provide two forms ofstandard agency contracts: Exclusive Managementand Specific Engagement. They also containspecified commission schedules, prohibiting anycommission that exceeds 10% of compensation.Equity members may only sign with agents who areEquity–franchised.

Anti-Discrimination. Discrimination on the basis ofrace, gender, age, national origin, union activity orsexual orientation is prohibited in all agreements.

Non-Traditional Casting. Casting policies designedto expand employment opportunities for women,senior performers, actors of color, and performerswith disabilities are provided in all agreements.

Website. Equity’s website provides up-to-dateinformation to members and the public at large.Audition notices (see “Casting Call”) from aroundthe country are also posted each day. Specialfeatures include online Equity theatre and


responsible for administering these plans. Calltheir office directly at 212-869-9380 with anyquestions you may have, or visit their websiteat www.equityleague.org.

The Pension and Health Trust Funds are governedby a separate, autonomous organization—The Equity-League Pension and Health TrustFunds—a joint union/employer entity. The Boardof Trustees is made up of an equal number ofunion and employer trustees, and each trusteehas a fiduciary obligation to the Funds. Changesin the plans are made only by agreement of boththe Equity and the Employer trustees.

Disability and Unemployment. Equity assistsmembers requiring help in the filing of eitherdisability or unemployment insurance claims withthe various state agencies. In addition, a disabilityinsurance policy supplementing Worker’s Compen-sation benefits is administered by Equity under theauspices of the Equity-League Health Fund.

If you are injured on the job during rehearsal orperformance, or on the theatre premises, you mustreport the injury to the stage manager or companymanager, and request that an accident and injuryreport be filed with the employer’s Workers’Compensation carrier. This filing is required by law,and if you do not create a record of the accident orinjury with the Workers’ Compensation carrier, youmay have difficulty in securing disability benefits,particularly if a disability develops at a later time.No matter how minor it may seem at the time,always report any accident!

Auditions. Agreements require employers to holdprincipal and chorus performer auditions, includingseparate auditions for Equity members. Theseauditions are held in office cities and local arealiaison cities as well as at each theatre. Up-to-dateaudition information is available on the Equitywebsite (www.actorsequity.org), in all offices and ontelephone hotlines in offices and area liaisoncities.

Equity News.Since 1915,Equity haspublished anewsletter to all paid membersthat containsinformation aboutEquity’s currentactivities andaccomplishments. A compilation ofmembership,employment,earnings andfinance statisticsis published oncea year.Equity News, 1924

15Member Professional Responsibility

Respons ib i l i ty

An Equity contract involves mutual responsibility.Equity requires that its members, as well asemployers, live up to their obligations under Equityagreements.

There are certain rules of conduct which allmembers are expected to observe asprofessionals, for the dignity of the acting profes-sion and the welfare of all their fellow performers.

Do not rehearse or perform without asigned Equity contract.

Give your best possible performance.

Maintain performance as directed or choreo-graphed.

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

Take proper care of all costumes.

Appear at curtain calls as directed.

Be on time for rehearsals and thescheduled half-hour; notify the StageManager before half-hour if you are ill orunable to reach the theatre in time.

Observe the rules as posted on thecallboard and fully cooperate with the Stage Manager.

Consult the Deputy and Stage Manager incase of disputes. If disagreements cannotbe resolved by the Deputy and/or the StageManager, you have recourse to appeal tothe staff, Equity executives, the RegionalBoards and, ultimately, to the Council.

Equity rules prohibit members from working, with orwithout pay, for any employer who is not a signatoryto an Equity agreement or code, unless Equity hasgiven prior written permission (for example, grantedfor performances sponsored by a religious institu-tion or to fulfill academic requirements).


franchised agents directories, and a Members Onlyprofile section where you can manage your contactinformation and pay dues online. The Constitutionand By-Laws, current news articles, rulebooks,forms, deputy and stage manager kits, the annualstudy, and frequently asked questions and answersare all accessible online at www.actorsequity.org.

Tax Assistance (VITA or Volunteer Income TaxAssistance). This is an IRS-sponsored taxassistance program that was initiated by Equitymembers in the 1970s. It is run on a volunteerbasis by IRS-trained members, and provides freetax preparation assistance to members of Equityand of the other performing arts unions. The VITAProgram currently operates in the New York Cityand Orlando offices. To find out if there is aprogram in your area, contact your regional officefor more information. (See Appendix C for moreinformation).

Legislation. The AFL-CIO’s Department for Profes-sional Employees in Washington, DC providesassistance in advancing federal legislation,securing funding for the arts, and other publicinitiatives favorable to theatre in particular and theentertainment industry in general.

Union Discounts. Equity offers several national and regional discount programs to our members.Some are related to the business of acting whileothers offer broader services. Visit the MembersOnly section at www.actorsequity.org for a currentlist of discounts.

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Member Profess ional

17Staff and Offices16 Member Professional Responsibility

Working without benefit of contract is so serious a breach of your professional responsibility thatsuch behavior will subject you to disciplinaryaction. Such non-union work seriously diminishesEquity’s ability to stimulate professional workopportunities, undercuts all other agreements,creates unfair competition, and is ultimatelydetrimental to the welfare of all the members.Therefore, the same principle applies in acceptingnon-union work under sister union jurisdictions.Should you have any questions regarding this veryimportant rule, immediately contact Equity staff inthe nearest office.

Embattled chorus girls attract an audience on the steps of Equity headquarters in midtown Manhattan, August 15, 1919.

“non-union work…is

ultimately detrimentalto the welfare of

all the members.”

Staff and Off i ces

The primary responsibility of the professional staffis to serve the members. Equity has offices in New York City (National/Eastern Regional Office),Chicago (Central Regional Office), Los Angeles(Western Regional Office), and a subsidiary officein Orlando.

More than 130 professional and support staff arecurrently employed by Equity. The staff is headedby a team of five executives—two national andthree regional Directors.

The Executive Director is responsible for theprimary oversight and implementation of nationalpolicy, contract negotiations, and general communi-cation with members and the public.

The Assistant Executive Director for National Financeand Administration, working with the ExecutiveDirector and Assistant Executive Director/RegionalDirectors, is charged with oversight of all nationaladministrative and financial matters for the Associa-tion.

Assistant Executive Director/Regional Directors arelocated in the New York, Chicago, and Los Angelesoffices. They are responsible for the supervision ofstaff members and Equity contracts in their region,and for coordinating the activity and agendas oftheir respective Boards.

The executives act asEquity’s chief negotiatorsfor the collectivebargaining agreementsand make recommenda-

tions to the governingbodies regarding overall

policy, contract, and financialissues. However, no employee, including any of theexecutives, has a vote on any Equity matters.

19Government and Organization

Organizat ion

Actors’ Equity is a national union headquartered inNew York City with regional offices in Chicago, LosAngeles and Orlando. Equity’s governancestructure is set forth in its Constitution and By-Laws, written, adopted and enforced by itsmembers. As a member, you agree to be bound bythe provisions of these important documents andall the duly enacted policies of the Union. You areurged, therefore, to familiarize yourself with themain provisions of the Constitution and By-Lawswhich can be found on AEA’s website.

Council. The National Council is Equity’s highestdecision-making body, particularly regarding policy,finance and appeals. It also has the authority toadopt rules supplementing the Constitution and By-Laws. The National Council usually meets bytelephone conference on a monthly basis.Contracts, significant policy issues and other majortopics of concern are vigorously debated duringCouncil meetings at scheduled Special Orders ofBusiness.

In 1992, a membership referendum substantiallyaltered the Constitution and By-Laws, decentralizingthe Council and greatly increasing regional partici-pation in decision-making. Referred to as theNational Representation Plan, the new systemgranted Eastern, Central and Western regionsproportional representation on the National Counciland, subject to the oversight of the Council, moreauthority to negotiate contracts and grant conces-sions through Regional Boards and committees.

The Council is composed of eight Officers and 75Councillors. The elected Officers and Councillorsare volunteers who receive no compensation. TheCouncillor seats are distributed among Equity’sthree geographic regions. (The Officers andCouncillors periodically meet in New York City in aPlenary Session of the full Council).

18 Staff and Offices

The single largest group of professional staffmembers consists of approximately 30 Business Representatives (supervised by Senior BusinessRepresentatives) who work in conjunction withContract Associates employed in Equity’s offices.Each week, business representatives administercontracts for more than 5,000 performers andstage managers employed in about 500 operatingcompanies nationwide. The business reps areamong the professional staff members with whomproducers and working members deal on a day-to-day basis. Their duties include:

Answering questions and interpreting rulebookprovisions.

Enforcing and administering all work rules.

Negotiating with employers.

Handling member claims, grievances and

disputes.Ethel Barrymore as the Spirit of Equity, 1921.

Government and


Members are welcome and encouraged to observemeetings of the National Council and the RegionalBoards. Minutes of the actions taken at theNational Council and Regional Board meetings areavailable to members in any of the Equity offices.

Elections. Candidates for a Council or Officer seatmay be nominated by Regional Nominating Commit-tees or the Joint Officers Nominating Committee.Individuals who are not nominated by a Committeemay run by means of an Independent Petitionsigned by 17 members in good standing from theapplicable region. All members in good standingmay vote, by mail or online ballots.

Committees. The committee system is in manyways the backbone of the Association. Equity’sstrength ultimately lies in the voluntary dedicationand willingness of members to participate freelyand fully in the life of the Union. Committees,established by the National Council or RegionalBoards are the heart of the union’s policy making.

Council and Board members usually serve ascommittees Chairs. Almost all committees includeparticipation by members-at-large. If you wish toserve on a committee, contact the staff at thenearest Equity office. If you do not live in an officecity, contact the office for the name of the nearestArea liaison committee.

All contract areas have committees in each regionthat address the problems and issues whichdevelop within their jurisdiction. In addition, thereare many other committees that deliberate onspecific issues, and make recommendations to theNational Council and/or the Regional Boards.

20 Government and Organization

The actual number of Councillors designated foreach region is determined by the proportion of theoverall membership resident within the region, andby the percentage of those working under Equity’sbasic Principal, Chorus and Stage Managercategories.

Each year, about 20% of the National Council iselected for five-year terms. The Officers are electedevery three years. The current composition of theCouncil, by region and employment category, is:

Regional Boards. The Eastern, Central, and WesternBoards are composed of the National Councillorsand a regional Vice President who officially residein the respective region. (The Central RegionalBoard also includes 12 members who are notCouncillors.)

The Regional Boards usually meet on a monthlybasis to conduct the business of the region. Theirresponsibilities include the provisional approval ofregional or local theatrical agreements and codes,and the granting of concessions. The RegionalBoards and committees also participate in thedrafting of contract proposals and act on sugges-tions or complaints by members who reside orwork in the region.

In order to maintain consistent policy and practice,the National Representation Plan requires the staffin the three regional offices to consult before finalactions are taken by the Regional Boards on majorcontract issues. Further, the Regional Boards areprohibited from taking any actions that are at oddswith overall policy and practice, established by theNational Council.

East Central West Totals

Principal 28 4 16 48

Chorus 13 1 2 16

Stage Manager 6 1 4 11

Totals 47 6 22 75

“All members in good standing

may vote...”


There are currently 24 such Liaison Areas locatedthrough out the Nation.


The Constitution designates the following as theprincipal National Council committees:

■ Executive Committee (inactive)

■ Advisory Committee on Chorus Affairs

■ House Affairs (finance and budget)

Other Committees include:

■ President’s Planning Committee

■ Constitutional Review Committee

■ Stage Manager Committee

■ Alien (Non-Resident Performer) Committee

■ Deputy Committee

■ Public Policy Committee

■ Equal Employment Opportunity Committee

■ Membership Education Committee

■ Production, LORT Contract Committees

■ New Media Committee

Committees discuss and make recommendationson all the important issues affecting the profes-sional Actor. By participating on a Committee, youcan help encourage job growth, increase wages,improve working conditions and enhance theActor’s quality of life. We urge you to get involved.

Area Liaisons. The Association has established aninformal Area Liaison system to maintain effectivechannels of communication with members whoreside outside of Equity’s office cities. A LiaisonArea is defined as having a minimum of 100 Equitymembers and one theater within the greatermetropolitan area of a particular city. Every Liaisonarea operates with an Area Liaison Committee andChair elected by the members.

Atlanta

Austin/San Antonio

Boston

Buffalo/Rochester

Cincinnati/Louisville

Cleveland

Dallas/Ft. Worth

Denver

Detroit

Florida-Central

Florida-South

Houston/Galveston

Kansas City

Las Vegas

Milwaukee/Madison

Minneapolis/St. Paul

Nashville

New Orleans

Philadelphia

Phoenix/Tucson

Pittsburgh

San Diego

San Francisco

Seattle

St. Louis

Wash DC/Baltimore

25Charitable and Support Organizations

Support Organizat ions

Equity has maintained a long and proud history ofinvolvement in the welfare of its members, asevidenced by the following list of Equity–affiliated charitable and support organizations:

Actors’ Equity Foundation. This Foundation wasestablished by Equity in 1963 as an autonomousentity designed to accept bequests and, in turn,dispense grants to theatres, organizations and,through The Actors Fund, to performers in need.http://www.actorsequity.org/AboutEquity/aeafoun-dation.asp

The Actors Fund. The Actors Fund, founded in1882, has a wide variety of programs and servicesfor entertainment industry professionals in times ofneed or crisis, including: health services andinsurance counseling; emergencyassistance/loans; mental health/chemicaldependency/HIV-AIDS counselling; the PhyllisNewman Women's Health Initiative; the AlHirschfeld Free Clinic; and other social services.The Fund supports affordable or long-term carefacilties such as the Lillian Booth Actors Fundhome, the Palm View and the Dorothy RossFriedman residences; and Schermerhorn House.For more info, visit www.actorsfund.org.

Actors Work Program. This program began in 1986as an Equity committee and is now an officialcomponent of The Actors Fund. The Actors WorkProgram helps professional actors secure dignifiedinterim employment, and/or explore the possibilityof preparing for a second career through individualcareer counseling, group seminars and workshops,training and refresher courses. www.actorsfund.org

Broadway Cares/Equity Fights AIDS (BC/EFA).BC/EFA is one of the nation’s leading industry-based organizations addressing the challenge ofHIV/AIDS. Since its formation in 1987, BC/EFA has


The Chair of the Area Liaison Committee is avolunteer, selected by the other members in thearea, who facilitates communication between thelocal members and the Equity office staff andBoard members. Area Liaisons are not officialrepresentatives of Equity nor are they authorized toact on any policy or contract matters. Such mattersmust be referred for action to the staff, commit-tees and Boards in the area’s Equity office.

AEA maintains a toll-free national hotline (877-AEA-1913) and Area Liaison webpages(http://www.actorsequity.org/AboutEquity/liaisons.asp) for members who live in Area Liaison citiesthat provide information about local auditions,meetings, events and other activities. AreaLiaisons Committees meet periodically throughoutthe year and all local area members are encour-aged to attend.

Membership Meetings. The Constitution and By-Laws require that one National and three Regionalmembership meetings be held annually in NewYork, Chicago and Los Angeles. These meetingsfunction as a means of direct communicationsbetween Equity and its members. Prior notice ofmeeting dates is published in Equity News and onthe website. Special membership meetings mayalso be scheduled as well as meetings in AreaLiaison cities. Resolutions adopted at a member-ship meeting serve as recommendations to theRegional Boards and/or the National Council.

Char i tab le and

27Historical Perspective

Perspec t ive

Actors’ Equity was formed in New York City on May26, 1913. For many years, exploitation had been apermanent condition of actors’ employment.Theatrical producers set their own work conditions,there was no required minimum level of compensa-tion, no payments for rehearsal, and rehearsalswere unlimited. Actors in a failed company wereoften left stranded in a town miles from home,costumes were furnished by the actor, holidaymatinees were numerous and performed withoutpay, productions closed during lean weeks, anddismissal took place without any notice to theactors.

Previous attempts by individual actors to organizein order to rectify these abuses had beenunsuccessful. However, by May 1913, a committeeof actors drafted a constitution for what was tobecome Actors’ Equity Association. Equity’sbeginnings were shaky, but it gained strength and,on July 18, 1919, the American Federation of Labor(later to be the AFL-CIO) granted a charter to thenewly formed 4As.

In 1919, Equity called the first strike in the historyof the American theatre. The main issue wasrecognition of Equity as the actors’ representative.

26

raised millions of dollars that have been distributedto social service agencies. Today, BC/EFA providesfinancial support to seven programs at The ActorsFund, assisting all entertainment industryprofessionals. In addition, BC/EFA makes grants tohundreds of AIDS and family service organizationsfrom coast to coast. From humble but dedicatedbeginnings, BC/EFA owes its success to the extraordi-nary commitment by Equity members and many otherswithin the theatrical community.www.broadwaycares.org

Career Transition for Dancers. Initiated in 1985 at theprompting of members, this organization providescounseling and job training to professional dancerswho may be approaching the end of their careers orwho, as a result of injury, are forced to stop dancing.www.careertransition.org

Actors Federal Credit Union. Foundedby members in1962, the Actors Federal Credit Union is a coopera-tive savings and loan banking institution providingfinancial assistance at low interest rates, freechecking, and ATM and credit cards to qualifiedmembers of the performing arts. www.actorsfcu.com

Union Plus Program. This AFL-CIO program offers allaffiliated union members throughout the countrybenefit programs such as those listed below. A fulllist of products and services can be found atwww.unionplus.org and includes:

Legal Assistance: free preliminary legal consulta-tion and review of documents on issues that arenot related to Equity agreements.

Mortgage Loan: mortgage loans at competitiverates, low down payments and special advantagesto first-time home buyers.

Discounts and Scholarships: discount Internet,wireless, computer and pharmaceutical products;scholarships and education services; auto andvacation rentals.

Life Insurance: life insurance at competitive grouprates. There is a Guaranteed Life Insuranceprogram for those who do not ordinarily qualify forlife insurance.

His tor i ca l

Brandon Tynan in a staged recreation of Equity’s landmarkstrike of 1919.

Charitable and Support Organizations

29Historical Perspective

policy. Employers agreed in 1961 that no actorwould be required to perform in any theatre where discrimination is practiced against any actor or patron because of race, creed or color.This policy has since been extended to prohibitdiscrimination based on gender, political belief or sexual orientation.

Equity has made historic strides to better the lot ofthose who embrace theatre as their calling. It alsochampions the preservation of historic theatres asa vital component of our cultural heritage.

Adopted over 85 years ago, Equity’s Constitutionstates that the goal of the Association is “toadvance, promote, foster, and benefit all thoseconnected with the art of the theatre.” Thisstraightforward directive still remains the fineststatement of Equity’s mission.

28 Historical Perspective

The strike lasted 30 days, spread to eight cities,closed 37 plays, prevented the opening of 16others, and cost all concerned millions of dollars.

Members of the chorus joined the fight along withactors, and five days after the strike began ChorusEquity was formed. When it ended, the employerssigned a five-year agreement that included most ofEquity’s demands. (Actors’ Equity and ChorusEquity merged in 1955.)

In the ensuing years, with each successive negotia-tion, Equity secured provisions that further protectthe actor. Equity has battled and won:

Bonding of productions

Minimum salaries

Payment for rehearsal

Regulations for the employment of foreign actors

Regulations of theatrical agents

Pension and Health Trust Funds (achieved after a 13-day strike in 1960)

Principal and Chorus auditions requirement,providing an opportunity for actors withoutagents to be seen by producers before the finalcasting of a show.

At the urging of members who desired increasedemployment opportunities, especially outside theEquity office cities, a major initiative was launchedin the 1980s. The Developing Theatre departmentand the Small Professional Theatre agreementwere created. In the 1990s, substantial sums ofmoney were committed to organizing drives, partic-ularly the creation of the Disney World Agreementand the opening of a new office in Orlando, Florida.

Equity has consistently been a leader in the area of civil rights. In 1947, the National Theatre inWashington, DC barred black audience members,and Equity ruled that its members would notperform on that stage. The theatre closed, re-opening five years later with a non-discrimination

Equity at the forefront of civil rights, 1968.

A stated goal of Equity:“to advance, promote, ,

and benefit all thoseconnected with the art

of the theatre.”

31Common Equity Terms

Extra. Where agreements permit the use of extras, an extra may only provide atmosphere andbackground. An extra may not be identified as aspecific character, and may not be required tochange make-up. The extra receives a reducedsalary, usually 50% of the minimum.

Dance Captain. The Dance Captain is the memberof the company who maintains the artisticstandards of all musical staging and choreographyin the style, intent,technique andenergy level of theoriginal production.The Dance Captain is responsible forrehearsing andpreparing allunderstudies,swings and replace-ment performers,and works intandem with theStage Manager in conveying and maintaining thecreative intention of the artistic staff.

Deputy. The Deputy works in conjunction with theStage Manager as the elected company memberresponsible for facilitating communication betweenEquity and the rest of the company. The Deputy isselected by majority vote of the company, usuallyon the first day of rehearsal. This election isconducted by the Stage Manager.

The Deputy advises performers on procedures and rules, and directs problems to the StageManager and/or the Equity staff. Deputies andmembers should not take grievances or questionsabout working conditions or rules directly tomanagement. Once alerted to a problem, the StageManager or the Equity business representative willcontact management on your behalf.

The Deputy and the Stage Manager advise Equityof possible rule infractions, complaints, or any

30 Common Equity Terms

Common Equi ty Terms

Contracts. There are several individual employmentcontracts that cover Equity’s three job categories:Principal, Chorus and Stage Manager. Eachindividual employment contract is referenced to andincorporates all the terms of a specific rulebook.

Standard Minimum (Principal) contract. This contract(often referred to as the “white” contract) is used forall principal actors, and most stage managers.(Production and Off Broadway agreements useseparate stage manager contract forms.)

Understudy (Principal contract). Understudy assign-ments are required in some agreements in order toprovide coverage for other principal performers’ rolesor parts. An actor may perform as an understudy onlyif the individual employment contract provides for thisadditional responsibility. A “general understudy” ishired to understudy one or more roles and does notregularly perform in the show.

Term contract (formerly run-of-the-play contract) is acontract established for a fixed guaranteed periodof employment, as agreed between an employerand an individual actor. During this period of time,neither party may end the contract. In exchange forthis guarantee, a term contract requires a higherrate of pay than a standard minimum contract.

Chorus Minimum contract. This contract (oftenreferred to as the “pink” contract) is used forActors whose primary function is chorus.

Swing (Chorus contract). A Swing is a non-performing member of the chorus who substitutesfor absent chorus members. (A Swing may also beassigned to understudy principal roles and/orchorus parts and specialties.) A Partial Swing is aperforming member of the chorus who is assignedto “swing” specific production numbers for absentchorus members.

Appendix A

33Common Equity Terms

Inactive status requires a minimum payment of three basic dues periods and full payment of the initiation fee. Inactive members aredeemed “not in good standing” and lose allbenefits of membership, including the privilegeof auditioning at Equity calls and all votingrights. They are also removed from the Equitymailing list. Under no circumstances, however,may members—even while inactive—work inEquity’s jurisdiction without benefit of acontract.

Resignation. Should you decide it is necessary to resign from Equity, and relinquish all benefitsof membership, a written request for theprocessing of your resignation must be made to the nearest office.

Just Cause. Most agreements provide for someform of “just cause” termination provision. Thisrule provides that if, after specified time periods, a person is terminated without just or sufficientcause (valid reasons), the employer is liable forsubstantial penalty payments.

Nudity Code. A set of guidelines and limitations for the use of nudity by performers at auditions,rehearsals and performances exists in mostagreements. These rules are specifically designedto reduce the possible risk of sexual harassment in the entertainment industry.

Stage Manager. Responsibilities of the StageManager include: coordinating a production duringrehearsal and performance periods; maintainingthe artistic intentions of the director after theopening of the show; scheduling understudy orbrush-up rehearsals; and, with the Deputy,maintaining order within the company. The StageManager also assembles and maintains theprompt book (the accurate playing/stage businesstext), cue sheets, plots, and other necessary dailyrecords. Additionally, the Stage Manager maintainsrecords of attendance, illness, injury, changes induties, and other work-related issues.

Common Equity Terms32

questionsthatcompanymembersmay have.However,changes ormodificationsto any workrule may notbe madewithout prior

written authorization from Equity. The Deputy andthe company members should always avoid directconfrontation with management, and should workwith the Stage Manager in an attempt to resolveimmediate issues.

Favored Nations. This term refers to a specificcontract rider provision that may be negotiatedbetween an actor and an employer. Such a ridergenerally provides that if other specified actorsreceive better terms or conditions than theindividual actor, then the actor signing the contractis entitled to the same terms or conditions(including, for example, level of compensation,transportation, and/or housing).

Fight Captain. Some agreements require a FightCaptain who is the company member responsiblefor maintaining the fight choreography and thesafety of those engaged in staged fights.

Inactive Membership.

Temporary Withdrawal (or Suspended Payment).If you need to temporarily withdraw fromtheatrical work, inactive membership status isavailable. Temporary Withdrawal or SuspendedPayment are forms of inactive status whichpermit members to be excused from duesbillings. Check with the nearest office for thedetails of these inactive options. Requests forinactive status must be made in writing toEquity during the April/May or theOctober/November Basic Dues billing periods.

34 Agreements and Codes

Appendix BAgreements and Codes

A variety of national and regional agreements aswell as theatrical codes are available for differenttypes of theatres and productions. The followingdescriptions are a very general summary. Whenworking under contract, always consult the fullrulebook or theatrical code. (All copies areavailable in the nearest Equity office, and most areavailable on the website.)

In addition to the minimum salaries established ineach agreement, standard benefits are generallyrequired. The following abbreviations indicate theavailable benefits of each agreement:

Pension & Health (P&H)

Transportation Expenses ( T )

Out-of-Town Expenses ( E )

Housing (H)

N a t i o n a l A g r e e m e n t s

Production. First negotiated in 1919, the Produc-tion Contract continues today as Equity’s premierAgreement, with the highest minimum salaries.This contract generates the highest amount ofoverall earnings as well as being the single largestsegment of Equity employment. (The ProductionContract is available on our website, www.actorse-quity.org).

The Production Contract covers both musical anddramatic productions for Broadway, National, andInternational Tours and may be used by commercialor not-for-profit producers for limited or open-endedruns. This is the only Equity contract with rules thatpermit the employment, under certain limitedconditions, of non-resident alien Actors.

35Agreements and Codes

Expense money (commonly referred to as PerDiem) is required whenever an actor is required torehearse and/or perform away from the point oforganization (New York City, Chicago, Los Angelesor San Francisco) of the production. (T) (E) (P&H)

League of Resident Theatres (LORT). This contractis used by major not-for-profit professional regionaltheatres and generates the second highest level ofemployment. Five categories, based on actualweekly box office gross, averaged over a three-yearperiod, determine salary and personnelrequirements. Local and overnight touring ispermitted; per diem is required when an actorperforms overnight tours away from the Theatre.LORT Theatres produce both dramatic and musicalworks. (T) (H) (P&H)

Small Professional Theatre (SPT). This contract maybe used in theatres of less than 350 seats outsideof New York, Chicago and Los Angeles. Thisnational agreement, together with the manyindividual Letters of Agreement, forms the basis ofEquity’s Developing Theatre program. DevelopingTheatres account for the third highest area of allEquity employment.

The ten salary categories of the SPT aredetermined by the number of performances and themaximum weekly hours of work. The SPT may beused in both commercial and not-for-profitsituations and for both seasonal operations andsingle productions. Touring is not permitted. (T) (H or E) (P&H)

Stock. A Stock Theatre presents consecutiveproductions of different shows with no lay-off orhiatus between the productions. A variety ofemployment contracts are used for Stock. TheResident (Minimum) Stock contract is used whenyou are engaged for two or more productions at aresident stock theatre. The Stock Jobbing contractfor non-resident Stock covers a single production ata single Stock Theatre. (Many theatres book

Cabaret is applicable for productions in cabaret-style theatres where the majority of the audience isseated at tables. In most cases, food and/ordrinks are served. There are both weekly and per-performance contracts. Performances on a weeklycontract are limited to eight per week, with no morethan two in any one day, and may not exceed 90minutes in length. Touring is not permitted. (T) (H) (P&H)

The Casino Agreement was recently created tocover employment in any theatre or other perform-ance venue within a casino/hotel property. Basedon seating capacity, there are four salary tierscovering both full-length and tab-version shows.Pension and health benefits are provided, as wellas housing and per diem for out-of-town actors. (T) (H) (P&H)

Midsize Theatre Agreement is designed for theatresseating up to 699 outside the office cities. It is tobe used for a single production, not for seasonaloperations. Payments are determined by thetheatre’s potential weekly box office. Thisagreement does not permit the use of non-profes-sionals; nor may it be used for touring. Housing isprovided by the Producer at no cost to the actorand a per diem is provided. (T) (H) (E) (P&H)

Business Theatre and Events agreements cover anylive production where the primary purpose is topromote directly or indirectly a product or service,including public or educational services, or toinform groups of employees or clients. There areseparate salary rates for multi-week, single-weekand daily engagements. Bonding is not required,and you are advised that paychecks may be issuedas long as 12 business days following the weekworked. Touring is permitted. (T) (E) (H) (P&H)

University/Resident Theatre (U/RTA). Thisagreement contains four minimum salary tiersbased upon weekly box office gross and number of performances. This is available to colleges anduniversities that employ professional actors and

“jobbing packages” that provide for an actor tosign a separate jobbing contract for each Theatre.)The Unit Stock contract is used for unit tours,where a single producer guarantees employment atmultiple stock houses, and only one unit contractis issued. The five Stock agreements are:

Council of Resident Stock Theatres (CORST)covers Resident Dramatic Stock and is used bycommercial and not-for-profit employers. (T) (P&H)

Council of Stock Theatres (COST) covers Non-Resident Dramatic or Musical Stock and maybe used by commercial or not-for-profit theatres.(T) (E) (P&H)

Musical Stock/Unit Attraction (MSUA) wasoriginally designed for use in large outdoortheaters but now includes indoor operations. (T) (E) (P&H)

Outdoor Drama is used for community-basedhistorical dramas. (T) (P&H)

Resident Musical Theatre Association (RMTA)agreement is used by both commercial and not-for-profit stock theatres for musical seasons.(T) (E) (P&H)

Theatre for Young Audiences (TYA). This agreementcovers plays that are expressly written, created oradapted to be performed for children through highschool age. There are two forms of individualcontracts: the weekly contract and the per-perform-ance contract. Performances are generally heldduring normal school hours and are limited to 90minutes in length. The agreement allows forassociated “artist activity,” such as classes withstudents. Local and overnight touring is permitted.Per diem is required when the actor spends a nightaway from the actor’s residence. Health insuranceis required only for weekly contracts. (T) (P)

37Agreements and Codes36 Agreements and Codes

Agreements and CodesAgreements and Codes 39Agreements and Codes

R e g i o n a l A g r e e m e n t s(Contact the applicable regional office for details.)

All Regions

Letters of Agreement (LOA). Together with the SmallProfessional Theatre, LOAs are used indevelopmental situations. LOAs provide theatres thetime and flexibility needed to develop into astandard Equity agreement. Every LOA is individuallynegotiated and, as a result, the terms vary fromtheatre to theatre and from season to season. EachLOA is referenced to a standard rulebook for thoseprovisions that are not specifically set forth in theLOA. (T) (H) (P&H)

Special Production agreements are used only withthe special permission of Equity. There areseparate versions of this agreement for eachregion. This may be used for commercial and not-for-profit productions for limited or open-endedruns. Most of the rules are similar to the standardProduction Agreement, with reduced salaries andper diems/housing due to the seating limitationsthat range from 700 to 1,000 seats. Touring isprohibited. (T) (E) (P&H)

Dinner Theatre agreements cover theatrespresenting consecutive productions where dinnerservice takes place, either in the same room asthe performance or in an adjacent room. DinnerTheatre agreements are negotiated separately foreach theatre in each region and salary scales varyfrom theatre to theatre. Dinner Theatres are notpermitted in New York City, Chicago or Hollywood.Touring is not permitted. (T) (H) (P&H)

Eastern Region

Off Broadway agreement covers theatres with fewerthan 500 seats in the borough of Manhattan, inNew York City. There are five salary categories

38

stage managers on a regular basis to perform withstudents. (T) (H) (P&H)

Guest Artist. This agreement contains three salarytiers based upon the number of regularlyscheduled performances. This is used by not-for-profit educational or community theatres thatoccasionally employ professional actors. No morethan two actors may be employed in any oneproduction under the agreement unless specialpermission is granted. A stage manager contract isrequired when there are more than two actorcontracts. (T) (H) (E) (P&H)

Special Appearance. Like the Guest Artist, theSpecial Appearance agreement was established toencourage increased employment opportunities.This is essentially a modified and reduced GuestArtist arrangement for use by small communitytheatres, outside of New York City, Chicago andHollywood, that wish to hire individual professionalartists and/or stage managers. There are twosalary tiers based on seating capacity, box officegross and number of weekly performances. Healthinsurance is not required. (T) (H) (E) (P)

The Leo K Theatre, inside the Seattle RepertoryTheatre Complex.


determined by seating capacity. Within eachcategory, salary is on a sliding scale based onweekly gross income. (P&H)

Mini Contract is used in New York City in theatresof 99 seats or fewer and is referenced to the OffBroadway agreement for its work rules. It hasreduced salaries and is only issued at the discre-tion of Equity. (P&H)

Disney World agreement currently covers about400 performers at the Walt Disney World themeparks in Orlando, Florida. (Stage managers are notcovered by this agreement.) A separate companyhealth plan is provided. (T) (P)

Workshop is a special agreement administered bythe Eastern Office and is used for the developmentof new works, usually musicals, and usually prior toan intended Production Agreement engagement.Salaries are lower than standard Production rates inexchange for participation in a percentage of grossbox office receipts and subsidiary rights. (P&H)

New England Area Theatre agreement is essentiallya modified version of the Small ProfessionalTheatre Agreement negotiated for use by a group oftheatres in the Boston area. (T) (H) (P&H)

Buffalo/Rochester agreement is a modified versionof the Special Appearance agreement availableonly for theatres in the greater Buffalo-Rochesterarea. There is no health insurance. (P)

Orlando Area Theatre (OAT) agreement is amodified version of the Special Appearanceagreement available only for the city of Orlando.(P&H)

Pittsburgh Special Appearance is a modified versionof the of the Special Appearance Contract availableonly for theatres in the Pittsburgh area. There is nomandatory health insurance under this agreement.(T) (H) (E) (P)


Central Region

Chicago Area Theatre (CAT) This agreement is usedin theatres with a capacity of 900 seats or fewerwithin a perimeter of 35 miles from the Chicagocity limits. It covers both commercial and not-for-profit theatres, and is a multi-tiered agreementbased upon a combination of weekly number ofperformances, rehearsal hours and potential boxoffice. (T) (H) (P&H)

New Orleans, Louisiana, Area Theatre (NOLA)agreement is a modified and expanded SpecialAppearance agreement, specifically designed foruse in the immediate New Orleans area. It isbased on the premise that actors and stagemanagers may be used on a periodic performancebasis. NOLA contains three salary tiers, based onthe number of performances and hours ofrehearsal for which the member is employed.Musicals may not be produced under NOLA. Thereis no health insurance. (H) (P)

Western Region

Western Civic Light Opera (WCLO) agreement isused in Western Region community non-profitmusical theatres. Touring is permitted betweenWCLO theatres and, under certain circumstances,into theatres that are not signatories to the WCLOagreement. Per diem is required when the actorperforms overnight tours away from the theatre. (E) (T) (H) (P&H)

Hollywood Area Theatre (HAT) is used in the countyof Los Angeles for theatres with less than 500seats. There are four salary categories based onseating capacity and seven salary levels tied to thegross box office receipts. (T) (H) (P&H)

San Francisco Bay Area Theatre (BAT) is used withinthe San Francisco Bay area in seasonal, not-for-profit theatres with fewer than 400 seats,provided that they have not previously producedunder a standard Equity agreement. There are five


Los Angeles 99-Seat Theatre Plan is a showcase-type code developed specifically for use in thecounty of Los Angeles in theatres of 99 seats or less.

Chicago Showcase Code is a showcase-type codefor use within the city of Chicago for productionsbefore audiences of no more than 99 persons.Unlike other showcase codes, the “producer ofrecord” and all the performers must be membersof Equity.

San Francisco Bay Area Project Policy is ashowcase-type code for use in the San FranciscoBay Area in theatres of 99 seats or less.

Members Project Code is available for “member-produced” projects where all members involved inthe production are considered collectively as theproducer. This code may not be used in any citywhere a showcase-type code is available.

Backers Audition Code is used only for presenta-tions that are mounted for the explicit purpose of trying to secure financial backing for a futureproduction.

Stage Readings are “book-in-hand” readings of ascript before an invited audience with no blockingor use of scenic elements. Under certain circum-stances, they may require the use of an Equitycode or agreement for those participating in thepresentation.Agreements and Codes


C o d e s

(Contact the applicable regional office for details.)

Theatrical codes are not standard Equityagreements. Most are “showcase-type” codeswhere professional services are rendered withoutpay, there is no obligation to remain in a productionfor any specific period of time, and none of theregular benefits of standard agreements exists.Theatrical showcase codes were developed at thespecific requests of members and are designedprimarily to provide a theatrical environment wheremembers may hone their skills and “showcase”themselves in the hopes of securing future employ-ment. Most showcase-type codes provide somelimited protections, including Future Rights guaran-tees (also referred to as Subsidiary Rights) shouldthe production move to a standard agreement. Atheatrical showcase code is a set of regulations towhich a producer agrees to abide in exchange forthe professional services of members. Seating of99 seats or less is a required code condition.

New York City Showcase is available for use in New York City in theatres of 99 seats or less.There are two such codes: the Tiered Code forFunded Non-Profit Theatres and the BasicShowcase Code used for single, commercialproductions.

salary tiers based on a gross box office formula,providing for flexibility in both seating capacity and inthe number of performances per week. (H) (P&H)

Umbrella agreement is used by theatres in thecities of Dallas, Austin, Houston, Portland (Oregon),Seattle, Phoenix and Tucson. It covers a designatedgroup of theatres in each city that only collectivelyare able to commit to a minimum number ofcontracts in a season. A theatre must be a memberof the umbrella organization in order to participateunder this agreement. Capacity is limited to 125seats. The Umbrella agreement is itself referencedto the Small Professional Theatre Agreement, butthere is no health insurance. (P)

C o d e s

Charitable events, such as Broadway’s annual Easter BonnetCompetition, continue Equity’s long and proud history of involvement in the welfare of its members.

45Income Tax Information44 Income Tax Information

I n c o m e T a x I n f o r m a t i o n

The following lists delineate some non-reimbursedbusiness expense deductions to which performingartists are usually entitled. The first includes in-town expenses (incurred in your home city) and theother out-of-town expenses incurred when workingor seeking work (out-of-town requires at least oneovernight away from your tax home). Records of allexpenditures should be kept according to thesetwo categories since they are reported on separateschedules on the tax returns.

IN-TOWN EXPENSES

Photos & ResumesAgent’s/Manager’s CommissionsUnion Dues/Initiation FeesOffice Supplies/Stationery/PostageBusiness Phone/Internet/Cable ExpensesBusiness Equipment ExpenseAccompanist/Audition ExpenseAnswering ServiceCoaching/Lessons for PerformanceEntertainment for BusinessGifts for BusinessSheet Music, Records, Books, TapesRehearsal Clothes & MaintenanceTickets for Professional ResearchTrade PublicationsTransportation Seeking Employment

OUT-OF-TOWN EXPENSES

Travel for Jobs or Job SearchesLodgingMealsLaundry & Dry CleaningLocal TransportationAuto (Business Rental) Gasoline/Auto Repairs & MaintenanceTelephone ChargesTips & GratuitiesOther Related Expenses

If you are on a tour or have a job that necessitatesyour working in another state, be sure to checkwith your employer as to the non-resident taxobligations imposed by the other state or city. Keeprecords, not only of what you earn in wages andper diem (if any), but the exact dates you were ineach locality. These records, along with those youhave of your business expenses, will be beneficialto you when you file your tax returns. Provide youremployer with the address at which you can bereached in January of the following year, andrequest that completed W-2 forms, reflecting yournon-resident wages and withholdings, be sent toyou as soon as they are available.

The Internal Revenue Service does not acceptestimates or approximations of any expenses. Paid receipts, canceled checks, bank and creditcard statements, a detailed diary, and other such documentation is required as proof ofexpenditures. You may claim these businessexpenses on your tax returns only to the extent you can prove you incurred them.

Finally, you may be eligible for the QualifiedPerforming Artist tax deduction. If you are aqualified performing artist, you may deduct youremployee business expenses as an adjustment toincome rather than as a miscellaneous itemizeddeduction. To qualify you must meet all of thefollowing requirements:

1. During tax year, you perform services in theperforming arts for at least two employers.

2. You receive at least $200 each from any two ofthese employers.

3. Your related performing arts business expensesare more that 10% of your gross income fromthe performance of those services.

4. Your adjusted gross income is not more than$16,000 before deducting those businessexpenses.

Income Tax Informat ionAppendix C

46

e quity was founded and is run by members in order to ensure safe andbeneficial working conditions and fair

remuneration for professional actors and stagemanagers. Members are encouraged to becomeinvolved in the Association by joining a committeeor participating in contract negotiations.

Governed by members, the union benefits from theparticipation of all.

If you have questions, please email the Equityoffices at [email protected] or call theBusiness Rep who administers your contract.

NATIONAL/EASTERN OFFICEActors’ Equity Association165 West 46th StreetNew York, NY 10036212-869-8530

CENTRAL OFFICEActors’ Equity Association557 W Randolph St Chicago, IL 60661312-641-0393

WESTERN OFFICEActors’ Equity Association6755 Hollywood Boulevard5th FloorHollywood, CA 90028323-978-8080

Orlando OfficeActors’ Equity Association10319 Orangewood BoulevardOrlando, FL 32821407-345-8600Administers only the Orlando Area

www.actorsequity.org

About Equity - Actors' Equity

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