Equity Actor Exchange Questions

[Yankeefan007]

Posted: 8/5/06 at 9:16pm

I understand the basic deal....for every member of British Equity we get, they get a member of American Equity. Right? Possibly.

Is it on a show-by-show basis? Since Simon Russell Beale came to the States, is that the reason why Chris Sieber is doing Spamalot in London? Since Idina went to London with Wicked, are we going to get someone like Helen Dallimore (I think that's her name) as Glinda in New York?

Can someone clarify these policies?

[The Distinctive Baritone]

Posted: 8/6/06 at 12:51am

Good question. I think that there's probably a certain amount of flexibility, and that the deals aren't necessarily show-based. I'm sure there are Broadway actors still looking for their payback after the all-British cast of "The History Boys." We need to do "Glengarry Glen Ross" in the West End so we're even

[bare_nakedlady]

Posted: 8/6/06 at 2:46am

Not to mention two thirds of the Faith Healer Cast!

[Fosse76]

Posted: 8/6/06 at 3:02am

It's not quite so cut-and-dry. The general rule of thumb is that Equity will allow an non-U.S. actor without an exchange agreement if the actor is famous. There are no degrees of fame, it's whatever Equity deems. So while the general public in the U.S. might not know who Jonathan Pryce is, he is reputable enoguh to not need the exchange agreement. Likewise, British Equity may have deemed Idina Menzel famous enough to grant her permission without the exchange agreement. It's really a judgment call based on the Unions. There probably isn't one for The History Boys either, because that show would not work without its British cast, and they were only permitted a limited run. In addition there are a few Americans in the cast, they just only happen to be on stage for a total of two minutes! :o) So in answer, while generally it is an actor for an actor, it is not show-based, but actor-based.

[Michael Bennett]

Posted: 8/6/06 at 3:14am

Fosse76 explains the situation very well. It isn't cut and dry. It is worth adding though, that in just the last few years, the rules for the Equity exchange are really beginning to fall by the wayside as both American and British producers are realizing that there is a certain appeal for theatre goers to see, for example, the original actors who create a role, while Equity is realizing that it isn't really depriving local actors of jobs.

The internet has made the world a much smaller place and so "Idina Menzel in WICKED" suddenly means something to British theatre goers, just as "Richard Griffiths in HISTORY BOYS" means something to American ticket buyers. Even if they don't know Griffith or Menzel's career - there is a certain prestige as selling point that comes with bringing over a highly acclaimed performance.

I think in the coming seasons, you will see more Brits come to the US and vice a versa. Particularly as, for the first time in many years, we have so many of the same shows playing in the West End and on Broadway or in just a season or so apart.

[Fiction Writer]

Posted: 8/6/06 at 3:19am

You would think with the success of Harry Potter, people would atleast know what Griffiths looks like.

[Michael Bennett]

Posted: 8/6/06 at 3:23am

But notice that the selling point of HISTORY BOYS wasn't: "come see Richard Griffiths from HARRY POTTER," but "come see the original cast of the smash hit, Olivier Award winning production from the RNT."

And that sold the show out just fine! Prestige goes a long way!

[Yankeefan007]

Posted: 8/6/06 at 9:38pm

Thanks, everyone. It is an interesting topic.