"Is this normal? People actually pay to act? I can't believe it." This is what Actors Equity's Michael Van Duzer described as frequently hearing from flabbergasted actors new to Los Angeles. As administrator of the 99-Seat Plan, Van Duzer often encounters the astonishment of newcomers who call to inquire about the city's preponderance of company theatres, particularly those that (gasp!) charge members monthly dues.
When he fields such questions, Van Duzer usually answers by first explaining a bit about the history of L.A. theatre. Most membership companies in town operate under the 99-Seat Theatre Plan, adopted by Equity in 1988 to replace the Equity Waiver system. Waiver theatre literally meant that the requirement for an Equity contract in these small theatres was waived, and along with it any and all stipulations for basic working conditions for the actors. Essentially, explained Van Duzer, "If you had a theatre of 99 seats or fewer in Los Angeles County, you could do whatever you wanted to."
Equity Waiver was created in 1972, specifically with membership companies in mind. According to Van Duzer, "The reason for the union agreeing to it was to allow our members a place to basically showcase themselves so that they could get other paying work." Since companies were essentially self-governing collectives in which the actors were also the producers, Van Duzer noted, "I doubt Equity thought that there would be much of an opportunity for them to take advantage of themselves."
Unforeseen by the union, however, Equity Waiver led to a veritable explosion of small theatres in the '70s, with independent producers jumping on the bandwagon and perhaps not always having actors' best interests at heart. After years of complaints and problems, Equity answered with the 99-Seat Plan, which allows union members to perform at these theatres under admittedly minimal, but at least basic, provisions.
It is important and perhaps surprising to note that, while the 99-Seat Plan governs the procedures related to actual productions, Equity does not in any way regulate the structure or internal policies of membership companies. Companies are free to organize themselves however they choose, charging any amount of dues and/or designating any work requirements they see fit, without having to offer guarantees to members about casting or anything else.
How and why has this system not only been tolerated in Los Angeles, but flourished, newcomers often ask? The idea of actors paying to belong to a company would be unheard of, say, in New York. One of the differences, said Van Duzer, is that, since there are far more Equity jobs in New York, "the Equity members [there] far outnumber the SAG and AFTRA people. So Equity has a much stronger voice, and Equity members are less willing to give up something." He adds that simply because Los Angeles has "the largest acting pool in the world," it makes sense for Angelenos to dive into a smaller pool by forming and joining membership companies.
So, to join or not to join? That is the question these days for many local thespians. It may be important for those grappling with the issue to first determine what they (honestly) are seeking from membership in a company-and what they (honestly) are willing to give in return. If one is expecting to perform in every show, to be plucked from obscurity by that bigtime casting director who will surely see them in their "star turn," and not ever to have to pick up a hammer, then company membership is probably not the way to go.
Following are profiles of three different L.A. companies that will perhaps give an indication of the breadth of opportunities out there for the actor who, in seeking to belong to a company, is truly looking for an artistic home.
Artists' Colony
Founded in 1975, the Colony Studio Theatre in Silverlake is among the oldest and most respected companies in Los Angeles. According to producing director and co-founder Barbara Beckley, a certain attitude is necessary to thrive here: "In order to be successful in this kind of company, you really have to find, on some level, some kind of joy and satisfaction in contributing to something larger than yourself.
"It's not fun cleaning toilets," she admitted, "but at the same time, being with a bunch of people and working toward a common goal can be. It can't be just about you."
It seems the L.A. "showcase mentality" has become anathema to many membership companies, despite the fact that the Waiver and 99-Seat Plans were originally designed for that purpose. Ironically, many of these groups now seek to provide havens from the very industry they were supposedly going to provide entr e to.
"Being in a company is not about being discovered," stated Beckley flatly. This is not to say that companies don't provide great opportunities for actors to be seen. She admitted that "things happen for [Colony members] all the time," but, "It's just that if that's the reason somebody's doing it, they're going to break their heart. The reason to do it has to be the joy of the work."
Still, Beckley acknowledged the importance of being seen in an industry town such as L.A., and the Colony does offer the benefit of unlimited comps to its productions (subject to availability) to legitimate industry folks.
It's not easy to become a member of the Colony. Prospective candidates are put through an in-depth screening process. After submitting a headshot and resum , each candidate is sent what Beckley calls "the scare letter," which details both the duties and privileges of membership-the message being that, "Nobody just acts around here." According to Beckley, "that right away eliminates any number of people."
Those still interested then undergo a thorough interview. Divas need not apply. "We have zero tolerance for ego," stated Beckley emphatically. So much so that, "It has happened on more than one occasion that somebody has come in and been a dazzling actor and we've turned them down because we felt they would not be a dazzling company member." The final step in the process is an audition consisting of two contrasting monologues and a song, if the person sings.
Once accepted into the company, an actor is eligible to be cast in a show "from day one. The playing field is level." The Colony presents three mainstage (drama, comedy, and musical) and three member-generated Second Stage productions each year, all of which are cast almost exclusively from the membership. There is an occasional need to bring in non-members for specific roles but, said Beckley, "Believe me, we never do it lightly."
The company charges its members nominal dues ($15 per month). Interestingly, Beckley said that she is "absolutely and utterly opposed to actors paying to act," and she admitted that, with over 3,000 subscribers, member dues comprise a minuscule three percent of the company's annual budget. So why continue to charge dues? Because given the hand-to-mouth existence of most actors, Beckley noted that paying even token dues implies a "certain investment" on the member's part, and that it seems to "engender a kind of company spirit. There really is a "we're all in it together' feeling."
In addition, Beckley finds that dues serve as a way to gauge the level of commitment at any given time. If members get busy and aren't seen at the theatre for a while, "we're not sure what's going on," she said. "But when that dues check arrives, [it means] this person still considers himself a member of the Colony."
In addition to paying dues, members are expected to provide 40 hours of support work for each mainstage production (averaging about 10 hours a month) and, during the first year of membership, perform a crew assignment on one mainstage or two Second Stage productions. That requires, said Beckley, "being at every performance of a show you're not in. And that quickly separates out who's there for the company and who's really there for themselves. Because the people who somehow are never quite able to manage doing that, we know aren't going to last very long."
Occasional Family Squabbles
Beckley and a six-member artistic advisory board, comprised of the company's resident directors, carefully choose each season's plays with the company in mind. "The ideal Colony show," she said, "will have 12-14 people in it, all terrific roles-with a real good balance of men and women. Because we want to give our company as much opportunity as we can."
Still, casting can be a particularly contentious subject in company situations, where there are no guarantees, and naturally some members are bound to get better and/or more frequent roles than others. "You run into that in every company," noted Beckley, "because, unfortunately, the people who work the hardest are not always the stars in your crowd. And there is often a sense of "I work harder than anybody. Why don't I get that role?' Well, you know, working harder than anybody makes you much loved and gives you many strokes when you come in, but it doesn't buy you a leading role."
Part of the problem, observed Beckley, is that a certain self-sabotaging laziness can creep over company members: "Just because one is in a company, and because a director knows an actor's work, doesn't take away from the actor the responsibility to prepare for an audition. I have seen actors come in and take roles away from better actors just because they were really prepared."
If members of the Colony do have grievances over casting or anything else, they are encouraged to express them to one of two company members whose official job it is to listen to complaints. "We make a very, very strong point that if somebody has a problem, they need to put it somewhere," said Beckley. "They're expected to do that. The one thing they are not expected to do is to bitch about it in the dressing room and spread it around. Because that kind of thing can really poison a company."
The current roster at the Colony includes about 80 members, which Beckley said is large for them, their usual ranks being 60-65. It is unlikely they will be losing members any time soon, as the company is about to make a big transition into the realm of mid-sized theatre. By the end of the year the Colony will have moved into a brand new 276-seat Performing Arts Center in the heart of Burbank, which, under an agreement with the city, they will occupy as primary tenant and operator.
During the first year in residence at the new space the plan is to wall off the audience to 99 seats and operate just as the company always has, while taking that time to begin to rebuild the audience, and figure out the lay of the land. After the first year they will expand to use the full 276 seats, at which point the company will have to operate under a different agreement with Equity, which has yet to be negotiated. Whether and how the membership requirements will change at that point remains to be seen. One thing is certain: the Colony will remain a company theatre, continuing to provide an artistic refuge for its members and award-winning theatre for its audiences.
Get What You Pay For
Another well-established local company with a similarly distinguished history is West Coast Ensemble. Formed by artistic director Les Hanson in 1981, the company is also one of the largest, with a member base of about 150.
Its $45-a-month dues may seem exorbitant to some, but West Coast offers members some big bangs for their buck. The company presents a year-round conservatory of professionally taught classes to its members at no additional charge. Everything from acting, voice, and movement to fencing, musical comedy, and even a "Business of the Business" class can be found there.
In addition, members can hone their respective crafts in the company's Directors Lab or Playwrights Unit, and are welcome to participate in "Ensemble Night," a members-only gathering which Hanson described as "a safe harbor where they can just come in and do whatever they want."
Even Hanson admitted he doesn't like having to charge dues. "It bothers me too. I mean, I don't want to pay to act." But, he added, "I don't think of it that way. That's why we offer all these other things." The bottom line, he admits, is it's "one way that we keep this place going." And company members also enjoy high production values as a result.
If a member happens to fall behind in dues-paying, the management at West Coast tries to be as flexible as possible. Members are offered the opportunity to "work down" their dues by taking on what managing director Richard Israel admitted would be some sort of "heinous" project. "I always kind of say, "We'll get your time or we'll get your money,' " he said. "It would be nice if we could get both, but if you're in a financial bind then you do need to commit to putting the time in."
In addition to dues, members must fulfill specific work requirements, including completion of one technical assignment per calendar year (either backstage or front of house); fulfillment of a company job (which averages out to approximately five hours of work per month), and participation in all company fundraising activities.
From Class to Stage
In return, performance opportunities abound at West Coast Ensemble each season, members are eligible to be cast in the company's four mainstage shows, plus a "Parallel Season" of two to four additional shows-usually smaller, more challenging fare-and three to four "no-budget" workshop productions of original material. Hanson determines the company's season, but said, "My door's always open if someone wants to come in and suggest something." He aims to be as eclectic as possible in his choices, to exploit the diverse talents of his membership.
As at the Colony, directors sometimes have to look outside the company membership to cast certain roles, particularly, for example, in musicals. "But we always thoroughly explore the company first," Hanson maintained. He is very open to so-called "non-traditional" casting: "I encourage people to really challenge the directors. If a playwright will allow it, if it's a role that's written for a man, why not have a woman audition for it if it could work that way?"
New members are eligible for casting right away. Hanson holds company auditions twice a year. He prefers to see a prepared scene to a monologue because "I just think [with] monologues you have to create that other person, and I want to see how people listen and react to another person." He looks for actors with strong training backgrounds, preferably including some classical work. Since the company does musicals, he wants to know if people sing or dance. He underscored that the company always needs "mature actors" and people who can play 20 or under. "The other thing I'm always looking for is people of an ethnic background," he added. "I always try to keep up the Asian, Latino, and African-American percentage of the company."
In addition to the audition, candidates are interviewed by two long-time company members who try to suss out whether the person will be able to be a team player. Said Israel, "We're also very clear right from the get-go that if you are joining this company to get cast over and over again, you're joining for the wrong reason."
West Coast offers comps to each of its shows to casting people, agents, and managers. This being the town that it is, said Israel, "If you're doing a good show at a good theatre, people are going to come see you." When a representative from the sitcom Seinfeld saw West Coast's production of House of Blue Leaves, for example, it led to a guest star spot for company member Lori Harmon.
Richard Israel, who has been a West Coast member for 10 years, and part of management there for five, has himself benefited from industry opportunities of a different sort. He is currently transitioning to his new position as artistic director of the Celebration Theatre, and is quick to credit his experience at West Coast with preparing him for the leap: "I feel like the only thing that has enabled me to even remotely be available for [this] is because I really learned how to run a theatre from the best people in town to teach it."
The New Company Way
And now for a company of a completely different color. Circle X Theatre Company was only just formed in 1996, but already this young upstart is proving to be both a critics' darling and an audience favorite. Their most visible effort to date-Great Men of Science Nos. 21 & 22-was named Best Play at the 1998 Ovation Awards and 1998's Production of the Year by L.A. Weekly.
Matthew Bretz and Jim Anzide, artistic director and managing director, respectively, were among the group's seven founding members. According to Bretz they formed the company because they were simply interested in producing "theatre that wasn't about showcasing our individual abilities, but was about making great theatre that would affect people." To that end, they steadfastly do not offer industry comps to shows.
As yet still without a permanent home-their goal for this year-this scrappy company has had to be nomadic, performing in a number of different local venues, and meeting anywhere they can-including living rooms and after hours in office buildings.
This young group has its own bold and refreshing take on being a company. They adamantly refuse to charge dues, though many members themselves have suggested it at various fiscally tight times. "Yeah, that would defray our costs immensely," acknowledged Anzide, but instead he counters with the following challenge to his members: "I'm going to ask you to get two more people to come see the show this week. There are your "dues.' Creatively solve the problem. Don't just throw money at it."
Without dues and with an admittedly low budget, Circle X cannot afford-and is not interested in-elaborate production values. Artistic director Bretz described their philosophy as "embracing cheapness as part of an aesthetic." He proudly admitted, "We make our shows out of trash. Literally, we dive in dumpsters, we scavenge stuff off the street, we embezzle from the companies that we work for," he said with a smile. "Whatever it takes." Rather than being a liability, he observed "that cheapness is what pushes us to use our minds in a way that is so actively imaginative and creative that our audiences are blown away, because they're required to be as imaginative as we are."
Circle X also does not define any minimum work requirements for its members, preferring instead to leave it up to each individual to find his or her own way of contributing to the organization. Bretz said this is about "letting people assess for themselves the nature of their commitment to the mission of the theatre company; having that be the guidepost by which [they] can evaluate the choices that they make." Anzide described a kind of "collective passion" within the group for the work that inspires new members to jump right in.
"I don't want to police this organization as managing director," he added. "If you don't want to be here or you feel obligated in any way, just as the door's open for you to come in, the door's open for you to leave, and there's no hard feelings about that at all. Because there is no guarantee that you will work. Just as you owe the theatre nothing, unfortunately it doesn't owe you anything either."
Pride, Not Privilege
The door into Circle X is remarkably wide open. One would think that a company this hot would start to close its ranks but, on the contrary, the members recently adopted an open policy, whereby anyone who works on two Circle X shows in a "full-time" capacity-such as crew, house management or even understudying-or spends six months in a support staff position, and embraces the mission of the company, is invited to join. They did away with auditions because, as Bretz explained, "We're continually trying to battle the feeling of privilege. It is a gift to us, as the company, if you want to be a company member. It's not like we're "letting you.' "
So far this policy has not backfired. Membership is at a manageable 48 and holding and, without the ability to expand their offerings that a permanent space would provide, Bretz noted that, "I think we're organically about at the limit of our size."
The company is quite democratic in structure, with the goal of truly empowering its members as co-producers. All policy decisions are made collectively and all staff members are elected annually by majority vote. "What we've really tried to do as founders," explained Bretz, "is trust that in relinquishing power, we actually all become more powerful together."
Company members even have something of a voice in casting. At the beginning of the season, each member fills out a form indicating which roles they are interested in playing, which shows they want to crew, and any other preferences for involvement. Although casting is ultimately about best serving the artistic needs of each show, members' penchants are taken into consideration.
As in other companies, casting is primarily from within the membership, although open calls are held for each show. These are not widely publicized-information is available by calling the member hotline. When it is necessary to cast from outside the existing membership, Bretz said, "What we try to do is just be really direct with each other about why we make our choices."
Circle X has ambitious plans for its future. "We're really interested in shaping a new American voice in the theatre," Anzide stated boldly. They eventually want the company to be "an organization that can sustain everyone involved artistically and financially." Judging by its brief but shining track record so far, there is no reason to think the members of Circle X can't accomplish whatever they set their minds to.
The decision to join a company is a highly personal one, and the choice of which company extremely important. Company membership is a big commitment; it is an intimate relationship with a group of people; and it should not be entered into lightly. It is not glamorous and it probably is not going to make you a star.
If you are considering joining a company, do your research. Go see their shows. Read their reviews. Meet their members and talk to them about their experience. Don't be afraid to ask a lot of questions-of the company and of yourself. "Sooner or later," said the Colony's Barbara Beckley, "some place is going to feel like home." BSW