There once was an impatient, young actor hired as a non-union performer by one of my L.O.R.T. clients. The actor strongly believed that if he didn’t get his Actors’ Equity card by age twenty-one his career would be over.
I kid you not.
When hired he’d hit his self-imposed card deadline. During his contract at the union, regional theater he got his nose out joint when he wasn’t bumped up from ensemble into an understudy vacancy. So what was his reaction at his first, major, regional theater job? He sent a heated e-mail to the artistic director resigning his position. The artistic director called me. We were to go into auditions in New York and replace the soon-to-be departing peeved performer. This effort was going to cost a lot of money and time. I proposed a solution.
I contacted the actor and asked him what his problem was. He bitched and moaned about not being appreciated, and that his work in the ensemble was not fulfilling his ‘artistic soul’. He wished he were back in New York seeking work. This was during the employment doldrums of summer.
After hearing his complaints, and my not wanting to go into costly auditions, plus my desire to not want my client to focus on the discovery that they’d hired via my office a high-maintenance performer, I asked Mr. P.P. if he would stay the length of his contract if I could get the theater to offer him his union card at the end of his term. “Yes,” he replied without hesitation. The theater agreed. The actor stayed plus his contract was extended earning him union work-weeks towards health insurance coverage.
But…
While the solution provided immediate gratification for all sides, especially Mr. Peeved Performer, it didn’t help him much past the near-term. Being young, green and an odd type he didn’t work much (nearly not at all) after that gig because he was now up against stronger, union performers. Had he remained level-headed and non-union for his early to mid-twenties he more than likely would have worked more often. Why? Because as a non-union talent he was more valuable. He had good dance skills, a fair voice, and enthusiasm. But those assets were paltry against the union performers who had many more credits, skill, and training.
Going union. Only in theater does this quandary seem to stymie participants in the performing arts as to when, why and how to join a collective barging unit. Especially since in the late ‘90s and well into the 21st century large-scale, non-union tours that looked identical to their Broadway parents (minus the Broadway budgets necessary to hire union talent on and offstage) began cutting into union work that was once a vital source of income for the theater artist. Then to compound that injury the deep economic crisis of the new century’s first decade which prompted many union houses in the regions to dump union contracts and agreements in favor of hiring a non-union, lower payroll in order to survive. Suddenly for the first time in decades the non-union artist had the upper hand for attractiveness in being hired. With a capital ‘C’ that stood for cheap it was commerce over competence that was (and continues to some degree) to be a major factor in who got work (non-union actors) and who remained unemployed (union actors paying union dues).
For each participant in the theatrical arts the ‘when’, ‘why’ and ‘what’ union varies. For some, joining a union is a status symbol. Recognition as being ‘a professional’. To which I reply; bullshit. Union membership does not equal professionalism.
I have witnessed many union actors, directors, designers, and stage craftspeople behave worse than the worst community theater artist. Many of the drama deviants make Waiting For Guffman look like Broad-way.
Also being union does not mean the person paying membership dues is a talented person of high regard. Need I mention some names of actors, directors and choreographers whose dreadful work has been seen while we all gasp and allege, “My dog could have done better.”
I was heartened once long ago when sitting on a panel that included a Vice-President from Actors’ Equity Association who had said without reservation, “Being a member of Equity does not mean you’re a professional. That’s a myth.”
Yes! Finally someone from that occasionally arrogant organization openly opposed the AEA mantra that the only ‘professional actor’ is an ‘AEA actor’.
Whatever union represents your field of expertise know that the initials that follow your name designating inclusion into the club will not make you better at what you do. Only you can do that; not a union card. Membership cards are generally plastic; an adjective defined as ‘synthetic’. Your career is more substantial. How you toil at your trade should not solely be reliant upon an identification card that is renewed only when you pony-up an annual payment to a union.
A union is for protection not perfection.
Pros & Cons of Becoming Union:
Pros:
– Basic salary minimums set by each union
– Health & Pension benefits (if employed a certain amount of weeks per year)
– Arbitration should there be a dispute between the union member and his employer
– Elevates professional status (but that doesn’t mean the talent rises as well. There are many union members who are outclassed by non-union talent)
Cons:
– Less opportunities for work (unions forbid and fine members for accepting work without a union contract attached)
– More competition (and often of higher caliber)
– As a union member you cost the producer more to hire as they pay bigger bucks for your larger union salary, and also must pay into your pension & health payments funds.
For the theater artist there’s a lot of non-union work in the regions and on the road. The younger and greener (i.e. less work history) you are the less likely you are to work as a union performer. The actors who have a solid resume with numerous union and/or first class (Broadway and sit-down tours) are the actors who get the audition appointments over the newly joined union actor who has one or two credits at small regional theaters or summer stocks. Yes, the situation sucks but that’s life.
Going union is your call. But before you make the choice, when the card is offered, ask yourself the following questions:
Do I want to work? Or do I want to work occasionally with the possibility of better pay and benefits? As a performer; does my age, skill set and experience equal my union peers?
If the final answer is ‘no’ then possibly reconsider your choice to stay and grow doing non-union work. You’ll become a stronger union candidate.
But eventually, the choice will always be yours.
My Best,
Paul
Read advice from legendary talent agents,
plus Hollywood & Broadway actors in Paul Russell’s Best-Selling Book ACTING: Make It Your Business!
Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.
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