DEAR MICHAEL:
I have recently come to New York on a tourist visa. I am not allowed to work in the U.S. legally, but I have married my long-term boyfriend, who is an American citizen, and we are applying for my work permit through a lawyer. The complete process takes six to nine months.
I am eager to start looking for auditions and an agent, and I would like to know if my situation could prevent me from getting a part or representation.
—American to Be
New York
DEAR AMERICAN:
I checked with a few agents and casting directors, and with my friend Rocco, an actor from Italy who recently became a citizen. I'm afraid the answer is as simple as you feared: If you're not eligible to work, you can't work. Even if you could legally be hired, in most cases you couldn't get paid without a Social Security number. Rocco had this to add: "When on a tourist visa, your only chance to get paid work as an actor is that the producers love you so much that they'll go through hell to sponsor you, getting a temporary nonimmigrant working visa [which costs money] from the [United States Citizenship and Immigration Services]. If she is an established actress in her country, she could apply for a special visa given to artists who can prove their 'success,' though it would probably take longer than getting the green card."
My sources say there may be nonunion jobs that pay "under the table" where no one will check your citizenship, but those are exceptions, and they may not be jobs you'd want. And I'm afraid the bad news continues. Because you can't book work, it's unlikely that agents or managers will sign you. Again, some might, but those are rare exceptions.
And those are the unfortunate facts. I'm sorry the news isn't better. Still, it's a great time to learn all you can. Take classes. Ask questions. Whittle down your list of agencies to target. Rocco suggests doing Equity waiver and student films while you wait. "Sometimes," he says, "we just need to be patient."
DEAR MICHAEL:
I did a commercial print job in March. I have yet to be paid. I've sent my agent numerous emails and phone calls and keep getting the same answer: "Wait." It's been way past 90 days now. Is there anything that can be done to get paid for this, or are there any rules at all when it comes to commercial print?
The agency says it has not been paid by the production company yet and to "keep on them." I don't want to have to chase them down for my payment.
—Show Me the Money
via the Internet
DEAR SHOW:
Here I was, sharpening my computer keys, all set to give you the completely wrong advice. Thank goodness for research. Here's a more accurate answer from a commercial agent:
"As far as I know, there are no union rules that apply, and the only thing to do is to have an attorney write a letter, which we always do if a payment is very delinquent," says the agent. "Typically, the sums are not large enough to warrant any kind of lawsuit, although the client might consider bringing the print production company to small claims court if the money owed is within those limits. I know it sounds like the agent is putting the actor off, but in the print world, 'keeping on them'—meaning, the print production company—really is the only alternative much of the time. And most of the time, being really, really persistent works—eventually."
If another few months go by, tell your agent you want to take the company to court, and ask for all the information. This may turn up the flame and get your agent to be even more aggressive. But I don't recommend actually going to small claims court. You may get a judgment in your favor, but the court doesn't collect, so you may do no more than add court costs to your financial loss. In most cases—though it may take far too long—payment eventually comes through.
DEAR MICHAEL:
Several months ago, when I met with a career coach—with a very impressive résumé, including seven Broadway shows—he suggested that in light of my interest in both legit and musical theatre, I should use two separate résumés. This is, according to him, because of the perception of the industry that you're either this or that. Where nonmusical plays are concerned, if they see a résumé of mostly musicals, they will not be inclined to cast you.
When I went to a seminar at Actors Connection, still using the one résumé, the casting director said, "You do both. That is so interesting." This may demonstrate this perception. I often hear people say, "Your résumé doesn't mean anything. It's what you do in the room." Well, is that so?
—Guided by the Light
New York
DEAR GUIDED:
Whoever told you your résumé doesn't mean anything was mistaken. These are the kinds of sweeping generalizations I find completely baffling. Certainly your résumé matters. In some cases, its content may determine whether you even see the inside of that audition room.
I agree strongly with your career coach's suggestion. Do everything you can to help those doing the casting feel comfortable hiring you. If you're auditioning for a drama and a résumé that features musical theatre is going to make them nervous, you can help them by instead presenting one that features your nonmusicals. Now, that doesn't mean there shouldn't be overlap. Your musical theatre résumé should include straight plays, and vice versa, to show that you're well-rounded. And your most impressive credits should appear on both.
I use the two-résumé plan. In my case, the division is between stage and television. I know that some TV folks are dismissive of stage actors and some theatre folks are dismissive of TV actors, so I have two résumés, each featuring one much more than the other.
While we're on the subject, here's another tip: There is, among actors, a misconception that résumé credits need to be in chronological order. I can't imagine why anyone would care. You're not testifying in court or writing a historical document. It's a résumé. And again, the idea is to help the people reading it, so guide them a little. I keep The Producers and Les Misérables—my sexiest theatre credits—close to the top of the list, so those doing a quick scan will be sure to see them. Staged readings can live farther down the page.
Congratulations on having such numerous and diverse credits. That's what we call a high-class problem.