[NEohioPAL]Pay vs. No pay. Mary Faktor's comments et al.

[Christopher Fortunato]

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Monday's meeting was an excellent discussion concerning pay vs no pay issues in Cleveland Arts.
 
I agree with many of Mary Faktor's remarks and especially with Tom Fulton's comments.
 
Having studied labor law I know where management can hide money and cry that it cannot pay persons.  
 
Tom's remarks about the Equity production code is right on point.  Actors do have to flex their muscle in experimental venues that permit them to create.  
 
But, what I still have found it difficult to comprehend after two years in professional theatre is that we have some fantastic actors in Cleveland who are Equity and either work for a minimum of 600-700 week in a LORT theatre or for about 300 a week in a guest artist contract.  When I think of Tom Fulton, Tracee Patterson, Paul Floriano, Sue Johnson, and Mary Ann Nagel all working for such little money when they can act circles around Broadway talent, it makes me wonder why we are doing this.  The producers can't be making that little of a profit that they cannot pay people better.
 
It's an odd profession we choose to be in.  And most of us do not travel like actors in NYC who will spend some time here at the Playhouse or Carousel, then go out to the west coast, then double back to work at the Goodman or Guthrie, then do a summer stock show.  
 
I had the privilege of acting for Tom in the Seagull at Beck Center (which many of you honored us with attending.)  I will never forget the training, camaderie and ensemble casting and respect that we all gave to each other.  I was bowled over by the talent I worked with and was exposed to including Tom, Tracee, Bob Hawks, Bernadette Clemons, Jeff Grover, and everyone else involved int he production including techinical and back stage personnel.  The experience was fantastic.  Being an EMC, I received only a stipend.  But in the back of my mind, it gnawed at me that these fantastic Equity actors in the production were earning so little.  To me, it was the artistic equivalent of pro bono legal services (to which I have provided and believe me the court's haven't raised the rates in years.)
 
Why were we doing this?  I told Tom I felt like a football player that went on the gridiron every week and got tackled hard, but had to keep coming back.  At this stage in my career, I would have done the show for the stipend.  But what happens in several years if I have an Equity card will I want to do the same peformance for a minimal salary?  I don't know yet.  
 
The discussion is healthy for our community.  I do feel that our rates need to be reviewed in all areas because we are working for less than the value of our services.  Artistic expression is good, but we all have to support ourselves, too.
 
Just a few thoughts in continuance of the thread.
 
Christopher Fortunato, AFTRA, EMC
Actor-Lawyer



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<DIV>Monday's meeting was an excellent discussion concerning pay vs no pay issues in Cleveland Arts.</DIV>
<DIV> </DIV>
<DIV>I agree with many of Mary Faktor's remarks and especially with Tom Fulton's comments.</DIV>
<DIV> </DIV>
<DIV>Having studied labor law I know where management can hide money and cry that it cannot pay persons.  </DIV>
<DIV> </DIV>
<DIV>Tom's remarks about the Equity production code is right on point.  Actors do have to flex their muscle in experimental venues that permit them to create.  </DIV>
<DIV> </DIV>
<DIV>But, what I still have found it difficult to comprehend after two years in professional theatre is that we have some fantastic actors in Cleveland who are Equity and either work for a minimum of 600-700 week in a LORT theatre or for about 300 a week in a guest artist contract.  When I think of Tom Fulton, Tracee Patterson, Paul Floriano, Sue Johnson, and Mary Ann Nagel all working for such little money when they can act circles around Broadway talent, it makes me wonder why we are doing this.  The producers can't be making that little of a profit that they cannot pay people better.</DIV>
<DIV> </DIV>
<DIV>It's an odd profession we choose to be in.  And most of us do not travel like actors in NYC who will spend some time here at the Playhouse or Carousel, then go out to the west coast, then double back to work at the Goodman or Guthrie, then do a summer stock show.  </DIV>
<DIV> </DIV>
<DIV>I had the privilege of acting for Tom in the Seagull at Beck Center (which many of you honored us with attending.)  I will never forget the training, camaderie and ensemble casting and respect that we all gave to each other.  I was bowled over by the talent I worked with and was exposed to including Tom, Tracee, Bob Hawks, Bernadette Clemons, Jeff Grover, and everyone else involved int he production including techinical and back stage personnel.  The experience was fantastic.  Being an EMC, I received only a stipend.  But in the back of my mind, it gnawed at me that these fantastic Equity actors in the production were earning so little.  To me, it was the artistic equivalent of pro bono legal services (to which I have provided and believe me the court's haven't raised the rates in years.)</DIV>
<DIV> </DIV>
<DIV>Why were we doing this?  I told Tom I felt like a football player that went on the gridiron every week and got tackled hard, but had to keep coming back.  At this stage in my career, I would have done the show for the stipend.  But what happens in several years if I have an Equity card will I want to do the same peformance for a minimal salary?  I don't know yet.  </DIV>
<DIV> </DIV>
<DIV>The discussion is healthy for our community.  I do feel that our rates need to be reviewed in all areas because we are working for less than the value of our services.  Artistic expression is good, but we all have to support ourselves, too.</DIV>
<DIV> </DIV>
<DIV>Just a few thoughts in continuance of the thread.</DIV>
<DIV> </DIV>
<DIV>Christopher Fortunato, AFTRA, EMC</DIV>
<DIV>Actor-Lawyer</DIV><BR><BR><p>__________________________________________________<br>Do You Yahoo!?<br>Tired of spam?  Yahoo! Mail has the best spam protection around <br>http://mail.yahoo.com 
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