Different “tiers” of Broadway performers- question

Harpz2006 said: "I noticed something in both an interview with Christy Altomare when she was in Anastasia and a recent podcast with Desi Oakley. Christy talked about how between playing Sophie and getting Anya, she was basically unemployed for 3 years- auditioning for a ton of stuff but now that she was leading lady status basically because of Mamma Mia, the jobs were more competitive/harder to come by. Desi said something similar about how she was fully unemployed between the end of her run in the Waitress tour and her Roxie stint 8 months later, but people dont realize that and were like, wow, youre just flying from show to show! She remarked how in the last month, shes been in two final callbacks with producers in the room for lead roles, and both didnt go her way, so shes plugging along and talked about how she uses rejection to fuel and motivate her.

Anyway, my question is- is it likely that if Desi wanted to, she could probablypick up a gig as a swing or ensemble in Wicked or Frozen (just as examples)? Is holding out for lead auditions only kind of a privilege for actors who can afford to go long periods without steady work? Could going back to ensemble roles even for a short while, make it more difficult to be seen in this leading lady category that both spoke about? Just curious about all this! Thanks for any insight!"

Unless it was a star-making, breakout performance, or an extremely well-received high profile hit, then there is no reason they would not be able to get ensemble or featured role work without any kind of push back or negative attention from theatergoers or the press. I remember seeing some actors in lead and featured roles on tours who later did ensemble work on Broadway. They were not "known" actors other than the occasional press junkets for their respective shows. The reality is that there are a limited number of lead roles, and since neither of the performers mentioned were runaway breakout stars on whose backs the shows' success rested, they can easily audition (and probably get) for ensemble work. The better bet, though, would to try and get lead and featured roles at the leading regional houses.

Updated On: 1/3/20 at 06:09 PM

Heck, LaChanze and Andrea Martin are basically in the ensemble of A Christmas Carol. They have their stand alone parts, but they’re also in the ensemble singing and dancing. And they both have much more of a status then the 2 women you mentioned.

(I also don’t know how someone can be unemployed for 3 years?!)

Good point regarding the “agents and pride,” but I also have to wonder if an actor like Altomare would stop getting called in for ensemble tracks because casting directors think of her as a leading actor now.

I think supporting roles are really a different matter than ensemble. Plenty of actors play both lead and supporting characters, even big stars. But I think it’s far less common for someone to go back to being in the ensemble after getting a breakout principal role.

One example that does come to mind is Jim Walton, who (sort of) originated the lead role in Merrily We Roll Along, but in the past few years he’s been in the ensemble of several musicals on Broadway.

Alice Ripley has said that her agents wouldn’t submit her for understudy jobs. She said she really wanted to understudy Amy Morton in Who’s Afraid of Virginia Woolf? There is this belief that you can’t go back to the chorus, A Chorus Line explores it with Cassie. But, of course, there are plenty of exceptions. There really are no rules in this business.

Have Equity rules changed regarding agents' commissions?

Unless they have changed, a representative has to negotiate a salary of more than 10% over minimum in order to collect his/her 10% commission. So an agent is potentially better off if a client sits home and waits for principal roles than if that same client signs on to join an ensemble at the union-minimum rate of pay.

(I'm sure many posters know this but I mention it for those who don't and wonder why an agent wouldn't submit a client for all roles.)

ETA my understanding is out of date. See AEA's post below for more current info.

Updated On: 1/3/20 at 08:56 PM

GavestonPS said: "Have Equity rules changed regarding agents' commissions?

Unless they have changed, a representative has to negotiate a salary of more than 10% over minimum in order to collect his/her 10% commission. So an agent is potentially better off if a client sits home and waits for principal roles than if that same client signs on to join an ensemble at the union-minimum rate of pay.

(I'm sure many posters know this but I mention it for those who don't and wonder why an agent wouldn'tsubmit a client for all roles.)"

Here's the current agency commission schedule for Equity Franchised Agents.

"Commissions shall be applicable in accordance with the following:

• Tier I: For weekly contractual salaries of $525 or less, a 5% commission shall be applicable.
• Tier II: For weekly contractual salaries of greater than $525, a 10% commission shall be applicable, except that the rehearsal period at minimum salary is commissionable at 5%.

Chorus Contracts: Commission on chorus contracts shall be applicable only in accordance with the Equity Agency Interim Regulations and Modifications to Rule A, set forth by the Joint Committee’s Determinations on January 22, 1991 and further modified on January 2, 2008. If after one year the weekly salary of an Equity Chorus Contract does not exceed the Equity established minimum salary (which includes all required minimum salary increments), an actor may elect whether or not to continue to pay commission."

And the Chorus Commission Regulations

"Under any of the following circumstances the full commission allowable will be paid: *

1. If any Exclusive Management contract has been in effect, regardless of agent involvement.
2. Actor signed to a contract for the season (three or more shows) with LORT theatre and is doing a majority of roles as Principal.
3. Actor submitted for and auditions for Principal role and Actor is offered Chorus with understudy for that role.*
4. Actor submitted and auditions for Principal role, gets role and Equity converts role to Chorus; provided that Equity has not previously determined the part to be Chorus.*
5. The Actor is submitted and auditions for a principal role; the Actor does not get a principal or understudy role, but does get a chorus contract as a result of that audition. Under these circumstances, a commission is payable if the agent has obtained at least four prior auditions (excluding callbacks) for principal roles in Equity's jurisdiction for the actor in the preceding 12 months.*
6. The actor is submitted and auditions for a role as understudy to a principal already cast; the actor does not get that role but is signed to a chorus contract as a result of that audition. Under these circumstances, a commission is payable if the agent has obtained at least four prior auditions (excluding callbacks) for principal roles in Equity’s jurisdiction for the actor in the preceding 12 months.*"

Now if an actor is using a manager versus an agent (some may only use one or the other, some may have both) then none of these necessarily apply and it's all up to whatever agreement/contract that actor signed with the manager, as Equity does not set any standards or franchising for managers.

https://www.cosmopolitan.com/career/a10378242/christy-altomare-anastasia-broadway/

In this article, which is in her own words, she basically says she wasn’t working and lived on her savings, for three years. She might still feel like that was accurate despite having a regional gig or two.