Landing a role, scheduling rehearsals, coordinating productions, and performing in a run of a stage show are always challenging feats. But when you have to uproot everything to travel around the country (or abroad) with a show, the personal pressures and sacrifices that come with touring are even more demanding.
If you are a veteran of life on the road, you know that every day and every city holds a new adventure, good or bad. If you've yet to strike out on tour with a show, you're in for quite an experience.
Lately, touring shows have been under scrutiny due to union regulations, peaceful protests, escalating costs, and other artistic and financial constraints. Back Stage has diligently chronicled the developments and demonstrations. But there is a lighter, happier, more rewarding side to touring—one filled with commitment, contentment, and camaraderie. Being able to entertain audiences across America with a rousing evening of musical comedy or classic drama—especially in these times of global tension and turmoil—may be just the ticket to temporarily take their minds off the problems in the world.
Of course, that doesn't mean that busing and trucking from Oregon to Massachusetts is going to be a piece of cake for actors, musicians, technicians, and other staff members. One can almost certainly expect personality clashes, cramped quarters, fast-food overdoses, and multiple cases of the homesick blues. Every aspect of touring means putting your daily routine on hold and making adjustments and arrangements—from subletting to exercising, from getting your mail forwarded to sleeping sitting up in a bus.
Then there are other questions you have to consider: How different is touring in a union production as opposed to a nonunion show? Where do you rehearse? What should you pack? Will you get along with your road roommate? How do you eat healthily and get enough sleep? Should you bring your laptop? A cell phone? Extra underwear? Hopefully, this guide will help you with some of the things you need to know about being a theatrical traveler.
Touring Company
Broadway production organizations and groups such as Big League Theatricals, Troika, Networks, Park Avenue Theatrical Group, and The Acting Company send out Equity tours and nonunion shows. In each case, there are countless variables—salary, per diem, travel and housing arrangements, contract provisions, unpaid breaks—so it's best to inquire about everything in advance. And who better to ask than fellow actors and crewmembers who have been there and done that?
To get a balanced look at touring from both sides of the union line, Back Stage has assembled its own "touring company" of Equity and non-Equity performers and technicians to give firsthand accounts of what life is really like in a traveling troupe. These hearty road warriors come from all over the United States and beyond to New York City, only to pack their bags and once again head out across the country.
The Equity members include MaryAnn Hu, a five-year member of the second national touring company of "Miss Saigon"; Diana Pappas, who's currently on her first tour with "The Full Monty"; Christian Conn, traveling with The Acting Company in "Pudd'nhead Wilson" and "The Taming of the Shrew" (both stopping at the Lucille Lortel Theatre, May 8-25); Leslie Becker, veteran of the Harold Prince/Susan Stroman "Show Boat" tour, just back from a "Cinderella" run for Networks; Dee Tabitha Wright, touring for the first time in "Aida"; Sarah Solie, now on Broadway in "Beauty and the Beast," who boarded the first national tour of "Titanic" for a year and a half; and Marilyn Caskey, who starred as Aldonza in the recent Park Avenue Theatrical Group tour of "Man of La Mancha."
On the non-Equity front, participants include Australia native Grant Turner, who's traveling with "Cats" and is a longtime road veteran ("Tap Dogs," "Steel City," "Chicago"); Michael K. Sheets, currently designing "Fool Circle" at the Trilogy Theatre, who was featured in "A Christmas Carol" for American Family Theatre; Erin Davie, singing in "Swing!" after performing "The Music of Andrew Lloyd Webber," both for Troika Entertainment; and Wade Fisher, reliving "The Adventures of Tom Sawyer" after touring in "The Rosa Parks Story" for Dandelion Productions and the National Theater of the Performing Arts.
Also weighing in with their opinions are several members from Big League Theatricals' nonunion tours—Ryan Dietz (now an Equity member) from "1776"; Juliana Boehm, currently working on "Dora" at La MaMa E.T.C., who served as concertmistress for "1776"; Louis Colaiacovo and Amalie Larsen (Fresno, Calif.) aboard the "Titanic" national tour and also alumni of "1776" and "Footloose"; and P.D. Seltzer, company manager on the current tour of "The Music Man," who has also traveled with "1776," "A Funny Thing Happened on the Way to the Forum," "Cinderella," and "Footloose."
Booking the Job
When deciding to try and get into a touring show, expect the unexpected at every step of the way, beginning with callbacks. Most of the performers interviewed had one callback after their initial audition. Some tried out for their tours several times and neither got called back until they were seen at auditions for different shows. Becker auditioned for one role, but got cast in another part instead. Dietz had his audition and callback on the same day because he was flying home to Cleveland. Davie and Wright share the prize for most callbacks with seven each.
When asked why they think they were hired, the participants' responses varied. A few had worked with the producers on previous projects. Responses included, "They were looking for a singer who dances and I fit that description" and "I could sing a high "C." Boehm had to beat out only one other violinist for an orchestra job. Fisher had been a teacher, so he knew what performing in a children's show required. Sheets responds, "If I knew the answer to this question, I would do it every time! All joking aside, it felt like more like an interview than an audition at times. Being given the chance to show that I am a human being rather than just another 16 bars made it easier to relax and get into the audition."
Hardly anyone had to give up a local production to take the touring assignment. Davie had "some really nice things brewing—I had to leave behind the possibility of those jobs." Becker had just committed to staying in New York and had taken a permanent job when she got the call. "My acting career always comes first, so I took the tour. Then I heard the company where I was going to work folded soon after I left."
Getting Ready
Almost everybody—union and non-union—rehearsed in New York for three to four weeks before leaving town to do tech runs and the tour. Other practice points included Fairfax, Va., Norwalk, Conn., Tulsa, Okla., and Philadelphia, Penn.
The majority also had about a month to prepare before going out on the road. One actor had only two weeks, and another had about seven weeks, so your results may vary. Hu had over three months, remembering, "We started rehearsal on a Monday, and one girl in the ensemble was actually hired the Friday before. Can you imagine packing up your life in a weekend?" Wright can relate, as she was hired on a Wednesday and left two days later—"I was a little stressed, but I made it."
Figuring out what to do with apartments or houses is something touring members always have to deal with. Many were able to keep their places, thanks to understanding roommates and spouses. Seltzer coordinated with "a local couple to check up on things like stray mail, flushing the toilet, and running the faucets." Becker fortuitously sublet her apartment to a friend of the spotlight operator running her show. One actor sublet her place every time, much to the chagrin of her super and the landlord. Another performer's subtenant fell through, so he had to pay rent for the duration of the tour. Dietz was himself subletting at the time, so he admits he was "already living out of my suitcase." A few reluctantly gave up their apartments, while others wished they had done so for financial reasons. Colaiacovo avoided the whole problem—he got cast in "1776" right out of college, and has been touring ever since. "I never had to do the apartment hunt, because I still technically live with my family!"
Heading Out
If there is a major difference between Equity and non-Equity shows besides salaries, it might be that "union flies, nonunion rides." Almost all the union performers flew to their destinations, while most nonunion people left the driving to bus operators (Fisher and Sheets were at least able to drive or ride in passenger vans). As always, there are exceptions to the rule. Several tour members flew the friendly skies during their nonunion travels, while Equity actors occasionally have to take the bus route.
Tours can be long or short, continuous or stop-and-start. Contracts can range from several weeks to a year or more. Davie's 10-month tour was extended five weeks—in Japan. Solie toured for 17 months, while Seltzer's been on a three-year tour. Hu toured for five and a half years, then moved into the Broadway company of "Miss Saigon." Becker had a two-and-a-half-month hiatus during her tour, and had virtually no downtime before jumping back into auditions. The Big League Theatricals team averaged nine months with each show—with scheduled (and unpaid) breaks. Fisher went out for only six weeks, but calls it "the perfect amount of time—long enough to enjoy a rhythm, but short enough to keep privacy issues and any potential social tension from flaring up."
Venue Hopping
Traveling productions can play any number of cities and venues—responses ranged from 30 to 90 different stops. Conn will hit about 50 cities in 25 states by the time he is done. Larsen sailed "Titanic" to 90 theatres. Runs range from one-nighters and one-week runs ("weekers") to several weeks or months at a time. Caskey was on a six-month tour, but relates, "There were so many one-night stands that a split-week was a luxury."
Each venue presents its own unique circumstances. Turner states that venues are like cities: "There is a different vibe with each one." Conn puts it this way: "One of the things that keeps the tour interesting is playing such varied venues each night. We will have some stints where we will play six different venues in six nights. As an actor, that's both terrifying and incredibly rewarding. Sometimes you get to the theatre only to find out that half of the set will not fit on stage, so you do some instantaneous reblocking, hope for the best, and wing it. Those kinds of experiences help to keep the shows fresh, because you never can become too comfortable with what you are doing." Caskey adds, "Learning how each of the different house's acoustics and sound systems affected each performance was a valuable experience. Some nights we were doing the film version—everything felt so intimate, and we had nuance in singing and speech. Other nights it was the sports stadium version—delivering as much energy as possible and feeling it was going into the black hole of the universe."
Different locations also mean different responses to a particular show, depending on the situation and subject matter. Strong reactions to racial themes and risqué language greeted several of the actors. Patriotic themes provoked varied responses from viewers, particularly in light of recent events. " Larsen explains, " 'Titanic' is not a lighthearted show, and I think people did not know quite how to respond after Sept. 11. We found this to be true especially on the East Coast, closer to New York." Boehm witnessed more overt patriotism during '1776' performances. "We got standing O's every single performance, as a drop of the Declaration of Independence came down from the fly space at the end of the show."
Settling In
Hotels are the most common accommodations offered to touring company members. Several Equity actors on longer tours rented corporate apartments that were fully furnished and had kitchens. Those same performers chose to stay in hotels for two-week stints. Hu says, "We would search the Internet for cheaper places to stay and it became like a game of who could find the cheapest/nicest housing!" The nonunion group pretty much always stayed in hotels, in bed and breakfasts, or with a friend. Davie remembers "some fabulous hotels and some gross places." Larsen points out, "If a place is really bad, our company manager gets us out of there as fast as she can. A good company manager makes all the difference in the world. They can make or break the tour."
Non-Equity people as a rule room with other tour mates; Equity status usually allows for solo accommodations—especially if your agent works out the right deal. But even union members tried to keep expenses down. Solie acknowledges, "It depended on the city and the cost of the hotel." Hu usually had roommates "so I could save money, but occasionally I liked living alone. I splurged in Hawaii and lived by myself in a high-rise that overlooked Waikiki Beach." Conn explains, "We decide at each town if we want a roommate or not. But to save money, most of us double up about 80% of the time. Luckily, everyone on tour gets along pretty well, so we don't run into too many roommate problems. However, it's important to give yourself the 20% of alone time." Becker agrees. "This is my number one tip—to save your sanity, room by yourself. You need that time to be alone so you can separate your work life from your private life."
Habit-Forming Lifestyle Changes
Living on the road is likely to change your eating habits. Many tour members try to eat healthily, but end up consuming too much junk food due to schedules and availability. Colaiacovo sums it up: "It is next to impossible to eat healthy on tour." Turner from "Cats" concurs: "The challenge is to try to eat healthy meals, particularly when you are wearing a cat suit daily." Solie states, "Sometimes it's more convenient to just take what is offered at the hotel or local fast-food places." Sheets adds, "Pizza becomes your best friend and your worst enemy." However, Seltzer was happy to eat at restaurants, and Caskey actually craved drive-thru fare. "I never thought I would love to see a Taco Bell. I fervently sought them out from town to town." Reports of "deli trays at the theatres" and a lack of "fruits and vegetables" are not greatly exaggerated on the road. One upside to not having a kitchen with a full fridge actually prevents snacking—Hu admits she actually started eating better on tour.
Sleeping in a strange bed is not easy for everyone to adjust to. Some performers had no changes in their sleeping habits. Others became insomniacs, lost sleep, and could never get used to all the different beds. Dietz states, "The biggest difference was that a lot of my sleeping time was spent with my head leaning against a bus window." Larsen agrees: "When we have an early travel call, I've learned how to sleep rolled into a ball on a bus seat. It's a skill you should learn when on a bus-and-truck." Seltzer actually sleeps better on the road. "Hotel life agrees with me. How wonderful not to have to wash sheets and towels for nine months or so."
Going on tour means you become part of a family—sometimes literally. Hu states, "I have made lifelong friends that I would trust my life with, and I also met my future husband on the road—we are going to be married in July!" Larsen also found love on the road. "I met my husband on one tour, he proposed to me on another, and we are together on this current one." Everyone agreed that the tour group forms a close bond while on the road, leading to many lasting friendships. Davie exclaims, "Good people are the only thing that can keep you going in this situation." Seltzer adds, "You usually make friends in the cities you visit, which make return engagements even more fun."
Keeping in Touch
Letters, email, and phone calls are crucial for most traveling players, offering temporary connections to family and friends back home. Solie points out that "most people had their mail sent to the production office, which in turn sent the mail once a week." Caskey says, "The producers were excellent about getting our mail to us—we just had it sent to their office." Also, some tour members like Pappas had direct deposit "so my money was always in my account when I needed it." Fortunately, most people had no problem getting their mail forwarded to them from friends and relatives and keeping up with bills, although Dietz had a few late payments due to the time delay. Wright points out, "Bills are just hard to keep up with, period."
Laptop computers and the Internet are now standard traveling companions as well. Boehm states that "in this day and age of electronic banking and voicemail, paying bills was not a problem." Almost everyone interviewed went online while on tour. Sheets says, "My laptop was my best friend." Dietz was able to borrow his cast mates' laptops when necessary. Davie and Fisher used libraries and Internet cafés. Wright doesn't have a computer yet, but says, "It's definitely a good investment." Boehm adds, "It was fun keeping a daily journal and sending it to friends/family so they could trace our adventures."
Turner recommends a device called Pocketmail that "sends and receives emails and faxes. It is very compact and perfect for traveling." Caskey thinks that "a laptop is a tour must, from getting emails to using Mapquest to finding out the local weather, and also keeping in touch with NYC casting."
A cell phone is another essential luxury these days, according to most tour participants. Comments ranged from, "Get a cell with a lot of nationwide minutes" to "It's important to have a good plan." Pappas wonders, "Email and cell phones...what did people do without them on tours in the past? They are my lifeline to family and friends." Larsen insists, "Cell phones are the way to go. As long as you don't go over on minutes—then you get in trouble!" Boehm is the anomaly. "Oddly, we did not break down and get a cell phone—we used pay phones." But Colaiacovo relates, "My first tour I primarily used calling cards, but I had to get a cell phone for my next one." Caskey offers another alternative: "Get yourself a phone card, because cell phones don't work everywhere. But they are a comfort to have. Anything that helps you keep in touch with family and friends isn't a luxury, but a mental necessity."
Diversionary Tactics
Television seems to be the main entertainment option for most tour participants. Only occasionally were movies, comedy clubs, and other theatre events available. Boehm offers, "Occasionally, as a professional courtesy, we would get comps to another touring show in town. Usually on a Golden Day [one day a month set aside without performing or traveling], one of the planned activities was a bus trip to the mall so we could avail ourselves of the multiplex." Performers also watched movies on his bus, and gathered in someone's room and watch DVDs or pay-per-view television. But Wright, for one, feels, "You are indoors too much in the evening to stay inside during the day."
Exercise is a common activity many tour members seek out, and is actually easier for some people when they are on a tour schedule. Becker sums it up: "Most of the time, our company managers would get us complimentary passes to gyms in the area. Your days are free so you have time to go to the gym." Hu agrees. " 'Miss Saigon' was done on a raked stage, so the first thing I always did when I got to a new city was find a gym and the nearest Pilates studio. I also liked to keep in shape because we were half-naked on stage!" Conn says, "Many of the hotels have small workout rooms, but rarely do you find more than a bike and a treadmill. When we do come across an actual health club in a hotel, it's like finding Atlantis." Larsen's cast warmed up during sound checks. Wright comments, "The show is my exercise routine." Boehm brought a Frisbee to toss around during bathroom stops." If we were in a bigger city, that usually meant more places to explore/sightsee, therefore lots of walking." Colaiacovo laments, "There are almost always gyms around the hotel, but I rarely ever work out." Seltzer agrees. "Every tour I swear I will use the hotel facilities to work out, but, alas, I do not."
Great Expectations
Tour members had very different expectations the first time they went on tour. Wright was hoping "to have fun, learn as much as I can, and meet new people." Hu looked forward to "per diem, and a sense of adventure." Dietz wanted "to see how people differed from town to town." Larsen expected "better hotels and bigger theatres. I wasn't expecting eight-hour bus rides into shows."
Boehm sought "a paid vacation—and it was nothing less than that." Sheets can relate—he took a swamp tour in Louisiana, swam with starfish on the gulf in Florida, and gambled on a pirate ship in Biloxi, Miss. "It made the tour more of a vacation than work, sometimes." Becker found what she was looking for—"a camaraderie and family feel greater than any other I had ever experienced." Pappas' expectations also all came true: " 'The Full Monty' is put together by a creative team that not too many can compare to. I can't imagine I will ever get tired of watching these actors work. Every night they impress me...every night. And hey, I get paid to watch men take their clothes off. How did that happen?"
While most experiences on the road are positive ones, there are some horror stories that should be heeded as warnings. Solie had a scare on a flight once, and Larsen remembers a "heinous" hotel experience. Boehm passed a kidney stone one night, but still made the eight a.m. bus call. Seltzer canceled opening night in Fort Lauderdale when the government closed down that airport. Davie lost her voice, and Wright got food poisoning during the second show on her tour.
Advice for Future Roadsters
In the end, everybody involved in a touring production comes away with a once-in-a-lifetime adventure, good friends, and many memories. Here are some final words of advice for anyone thinking about taking their own "road" trip.
Sarah Solie: "Take things on tour with you that will make you feel at home while on the road, but avoid over-packing."
MaryAnn Hu: "Get involved in the local cultural affairs. We volunteered to go out and sing in convalescent homes. At the end of [the run in] each city, we donated food and household items that we couldn't travel with to local food banks and shelters. And we produced benefits for both local charities and Broadway Cares."
Dee Tabitha Wright: "Have a good time. Be aware of your surroundings and the people you have to spend all of your time with—they become your family and the tour becomes your home."
Amalie Larsen: "Make sure you have a sense of humor, because you'll need it."
Juliana Boehm: "Go to Steamroller Blues Barbecue Restaurant in Tulsa and try the ribs."
Louis Colaiacovo: "Bring lots of socks and underwear. Don't get stuck touring too long unless you really enjoy it (you miss so many auditions). Make good friends. Avoid making enemies. Do your own job and never tell others how to do theirs. Bring a pillow and a blanket for the bus. The technical staff works just as hard if not harder than you, so never take them for granted. And strive to keep your performance as consistent as possible (touring makes it tough)."
P.D. Seltzer: "Pack light, be flexible, and choose your roommate carefully."
Michael K. Sheets: "Do it! If there is anything you're searching for in your life, you find it on tour. Maybe you'll find it in a place you've never been, maybe in a person that you meet, maybe in a line you've said a hundred times. You'll find something to carry with you forever; that's for sure."
Erin Davie: "Take care of yourself. Take advantage of the cities you are in because you may never get back to some of them again. Save your money. It is so easy to spend money eating out and shopping. If you find cheaper ways to do things, you can save so much and not be left broke at the end."
Leslie Becker: "Really explore the cities—take advantage of getting to know each city because they are so unique."
Christian Conn: "Ultimately, a tour is a tremendous workout as an actor. While it is sometimes tedious, you really get to stretch your muscles. We are pretty lucky. How many actors get to do this anymore? Hopefully, it keeps us sharp…and what more can you ask for?"