For those of you not in Actors Equity, you should know that British and U.S. AEA unions must approve all transfers. Period. That includes stars, full casts, "non name" actors, etc. No approval, no transfer.
A producer petitions the union to allow an actor to transfer on the grounds of box office name, or to keep an entire production intact (full cast transfers), or on the grounds that the performer, whether "known" or not, is essential to the director's artistic vision and concept.
But ALL transfers must be approved by the union in advance. No exceptions.
The most famous example of a struggle was with Phantom of the Opera. Michael Crawford had caused a sensation as the Phantom in London, and it was a no-brainer for Equity to approve his transfer, which they did. Then Webber announced (AFTER the U.S. auditions and casting had been completed) that Sarah Brightman would be coming to Broadway with the show as well. Equity said no. She wasn't "known" here, nor "essential" to the production. Plus he had already cast Patti Cohenour as Christine.
Andrew then threatened to pull the entire production from New York before starting rehearsals. Equity got nervous, knowing it would cost hundreds of jobs for what was likely to be a mega-hit show.
They negotiated further, and Webber finally agreed to a future compromise of casting an American actress as the leading lady in his next original musical in London. That's why Ann Crumb was the West End lead in "Aspects of Love." She was an American, originating a leading "Webber" role in London, and then transferring to the U.S.
So that was the trade.
But there is always a trade. No trade, no approval.
"Jaws is the Citizen Kane of movies."
blocked: logan2, Diamonds3, Hamilton22
