Changes to the Showcase Code

Actor’s Equity is making modifications its Showcase Code to increase limits under which the majority of Off-Off-Broadway productions operate. The changes go into effect May 25th 2009, according to documents posted on Equity’s website.

See the details.

QUESTIONS ABOUT THE NEW SHOWCASE CODE

FROM: Nick Micozzi

Today's publishing of some long awaited changes to the Showcase Code should be taken as good news. And with a grain of salt.

First, let's be clear: The issues between AEA and Off-Off-Broadway are very tricky. There are many stakeholders from different points of view. There are lots of very passionate opinions and very few clear, undisputable facts. If it were easy, it wouldn't be an issue, and we'd be focused on other things. But at least these changes are a signal that Equity understands that there is value in OOB, that things have changed.

Now, obviously there is more to do in working together to create economically sustainable theatre Off-Off-Broadway. In speaking for myself as a human being and a New Yorker - NOT on behalf of the IT Awards, the Innovative Theatre Foundation, nor any particular company - I am still troubled by a few things:

First, producers and the community at large should fully understand that Equity faces considerable complexities including labor laws, legal considerations, unemployment, overhead costs, the competitive theatre environment, and other issues that make navigating these factors much more difficult. It’s not easy, and folks at Equity have worked very hard to come up with agreement on these Codes.

Second, in turn, there is the murky process by which changes are made in AEA. I understand why clarity and consistency is important, as well as the priority of members' interests, but i don't see why there can't be more transparency in the dialogue and decision-making process. Why wouldn't the Union want to hold public forums on the issues affecting OOB? Or at least focus groups? If they already have or plan to do so in the future, that would be nice for the community to know.

Next, there have been some considerable efforts by various stakeholders to come to the table with ideas. There was the ART/NY whitepaper, followed by various new or altered code models, by folks such as Paul Bargetto and others, offered as starting point tools for use in the discussion. But it's not clear what happened with those artifacts. I’m told they were considered by the Showcase Committee, but what level of discussion came from those artifacts? Were the authors/sponsors asked to talk about them? If so, to what degree? And if not, why not?

And most important and striking to me: Why - as i understand it from numerous Equity members that have experienced this – would AEA consider actors who produce their own OOB shows to be conflicted and therefore prohibit them from participating in the discussion? These are the folks who know the most about the issues in creating healthy OOB. There's no winning endgame for an indie producer to mistreat or take advantage of their actors. Yet it seems there are some members of Equity committees that believe these artists (because they are actor-producers) wouldn't want to pay their friends, and themselves fairly, or help support their own pension and health fund, or otherwise support their union. That is just frankly unthinkable to me. I know many actor-producers, and every one - without exception - does everything they can to make sure artists are treated the best they can, paid as much as they can, and truly have the artists best interests at heart. And anyway, there are easy, effective, low-cost corrections for “Bad Apples”: bad reputation, Equity can restrict production, Actors can always leave showcase productions at any time, etc. Further, actors who do not have experience producing are simply not aware of the intricacies and external limitations a production faces. Just like serving on a committee, it’s a lot more complicated that it may seem from the outside. But the bottom line again is transparency - what could be wrong with more informed voices in the room? You don't have to agree with another's ideas, but at least you've heard them. Knowledge is power. Debate is healthy. Get everyone at the table - it's a truer model of the real world, from which you make more informed - and ultimately wiser decisions.

Again I'm asking as a human - speaking for only myself - who has a vested interest in the sustainability of this theatre, and a very strong desire to be able to pay actors a respectable, living wage. There is a long way to go to get there, as there are many very influential issues far beyond AEA-producer relations. But I believe that Equity and OOB producers are both better off working as allies and partners. OOB was built by Actor-Producers, and now it's a scene that's 40,000 strong. Equity has reached out with these changes. It's up to all of us, now, to work together to keep strengthening relationships and offering outstretched, open hands.Also See Shay's blog about code reform.
What do you think? Does this help? Does it go far enough?

The difference between the LA 99 Seat Code and the NYC Showcase Code

Several people have asked what is the difference between the LA 99 Seat Code and the NYC Showcase Code. The LA 99 Seat Plan is similar to the NYC Showcase Code in that it allows producers to use Equity actors without putting up a bond and without paying Equity's wage compensation. For both of these codes, Equity considers the actors to be volunteers and the productions must take place in a theatre of 99 seats or less.

While many of the rules and regulations are the same for both, they do differ in some significant ways:

1. The LA 99 Seat Plan allows 60 performances and you are allowed to extend for an additional 20 performances with permission from Equity.
2. They are allowed 6 weeks of rehearsals (NYC is allowed 4 weeks) and if they are working under the "Extended Rehearsal and Performance Plan" they are allowed 8 weeks.
3. They are allowed up to 36 hours per week of rehearsals
4. In NYC Equity members are allowed in free to all Equity Showcase productions (based on availability) in LA Equity members are allowed to purchase 1/2 price tickets on all unsold tickets at curtain time.
5. In NYC showcase producers are not allowed to video tape or record any part of any performance or rehearsal for any reason ever. In LA 30 minutes of a regularly scheduled performance or rehearsal is allowed to be recorded and upto 3 minutes of that recording is allowed to be broadcast.
6. There are some agreements in LA that allow performers to be paid anywhere from $7 - $25 per performance based on the size of the house and the ticket price.
7. Ticket prices for the LA plan can be upto $34.99.