What Do They Do In Between Gigs? — Page 2

From the NY Times article on Elaine Stritch's death.

"Ms. Stritch might be the only actor to work as a bartender after starring on Broadway."

Not likely. But, there is one answer for you...

If the actors are fortunate to have had long running shows or been in frequent Bd'w shows they are wise to bank some of their income. Many still have agents who look for performing opportunities from year to year such as concerting if they are self-contained with charts & accompaniment.( Craig Schulman, Jeri Sager, Linda Eder and many more). Some develop and produce shows to market (Rob Evan), to name a few.

Some decide to write music, open studios, teach etc. (Ray McLeod, Tony Vincent). Some secure work as Artistic Dirs. across the country (Terry Mann, Lauren Kennedy both in NC). Some Bd'w musicians do quite well traveling from show to show. A few get hired permanently with a prosperous venue.(Rob Meffe etc.).

The age timeline runs out on some, while others seemingly always find some theatrical work, especially when they create an original stage role and are popular as of late (Norm Lewis). Most of the performers I've worked with often do regional shows whether starring, directing/choreog. or producing. While they don't pay like a lead role on Bd'w, they pay the bills. Some become adjunct professors for a time (Kevin Gray, Craig Schulman and others) at colleges with nice arts programs. Chuck Wagner was Ring Master with Ringling Bros. Circus for about 2 yrs. Great gig, nice exposure and resume credit! Others go into Reality or investment companies. Work is work. All the while agents look for theatrical readings, concert event ops and other opportunities to keep their clients in performance mode.

---

Updated On: 7/17/14 at 03:04 PM

I understand this is
what they do.

God, this (and other creative industries) seem so difficult to make a living.

---

Speaking if making ends meet, I just finished Donna Mckechnie's autobiography and I wonder if she is still as dirt poor as she sounded by the end of the book. She was in her forties (or even fifties) and had to sleep on a studio's floor because she was homeless. Funny thing is that she said it was "bordering" on pathetic. I know she only wants to dance but geez her life sounded financially rough.

---

Updated On: 7/18/14 at 10:50 PM

God, this (and other creative industries) seem so difficult to make a living.

Was it this thread that made your realize this?

"A friend stood in line at the unemployment office with Tommy Tune the morning after Tune won the Tony for SEESAW."

There used to be a big joke on 54th Street in Manhattan. The unemployment office was only a door or two away from a rehearsal studio. The joke was that when you saw a line on 54th Street, you had to determine whether it was for actors auditioning for a show or collecting unemployment.

There was also a joke that the bartenders at Studio 54 would finish their shift and then cross the street to be the first on the audition line.

---

Updated On: 7/19/14 at 05:11 PM

And didn't Michael Bennett leave at least part of his considerable fortune to their daughter, McKecknie?

Wait, what?

"Was it this thread that made your realize this?"

What do you think?

---

It's not the first time. I mean, there is a public perception/stereotype. But having not worked in a creative industry to hear actual stories is pretty interesting.

---

Yeah she did. She came back from a really debilitating condition. I think even if she was paid well in ACL, that wouldn't have lasted her very long considering the price of everything. Plus she moved to LA again tried to make it, ended up losing money on a house she bought, was scrambling to find jobs because Michael Bennett blacklisted her (so she thinks) for years after ACL, etc.

I loved the part in her book about Sweet Charity. It seemed like she LOVED working with both Bob Fosse and Gwen Verdon and just loved to observe how they worked together.

---