What Do They Do In Between Gigs? - Page 2

[hushpuppy]

Posted: 7/17/14 at 10:52am

A few years ago, Alec Mapa wrote and performed a wonderful one-man show, I REMEMBER MAPA, in which he talked about, having previously starred in the Broadway and touring casts of M BUTTERFLY, waiting tables at California Pizza Kitchen...in the Valley.

[ErinDillyFan]

Posted: 7/17/14 at 2:33pm

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...

[Phantom of London]

Posted: 7/17/14 at 2:42pm

It is often said when someone says they work as an actor, it's often prudent to ask them what restaurant they work in!

[PB ENT.]

Posted: 7/17/14 at 3:04pm

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

[Gothampc]

Posted: 7/17/14 at 4:03pm

"It is often said when someone says they work as an actor, it's often prudent to ask them what restaurant they work in!"

It used to be a joke in NYC that if you were in a restaurant and wanted to get your waiter's attention, you would say "Oh actor!"

[eperkins]

Posted: 7/17/14 at 4:23pm

I understand this is
what they do.

[Dollypop]

Posted: 7/17/14 at 5:54pm

You would be astonished to know how frugally Broadway "names" live--even Tony Award winners. Some of their apartments amount to little more than phone booths and I'm not exaggerating.

A few actors I know make ends meet between gigs by recording books and doing voice-overs. One actor in BEAUTIFUL has branched out into selling real estate.

[binau]

Posted: 7/17/14 at 6:06pm

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

[GavestonPS]

Posted: 7/17/14 at 6:27pm

I know this room is Broadway-oriented, but there are theaters in other parts of the country, too.

If s/he uses the per diem carefully (doubling on rooms, for example), an actor can make more money out of town than on Broadway. There are huge theaters in the Midwest and Southeast that pay very well.

There are also concert dates, club appearances, film and TV work, etc.

And, yes, even well-known performers keep their day jobs. A friend stood in line at the unemployment office with Tommy Tune the morning after Tune won the Tony for SEESAW. At the time I thought, "Well, that's show biz!" (For you kids, unemployment insurance used to be a manual operation requiring a personal appearance every other week.)

Updated On: 7/17/14 at 06:27 PM

[VIETgrlTerifa]

Posted: 7/18/14 at 10:50pm

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

[Borstalboy]

Posted: 7/19/14 at 2:53pm

I know one Broadway actor who runs a food truck in between gigs.

[Phyllis Rogers Stone]

Posted: 7/19/14 at 4:31pm

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

Was it this thread that made your realize this?

[VIETgrlTerifa]

Posted: 7/19/14 at 4:33pm

"Black sable one day.
Next day it goes into hock,
But I'm here.
Top billing Monday,
Tuesday you're touring in stock,
But I'm here."

And that's if you're lucky.

[Gothampc]

Posted: 7/19/14 at 4:44pm

"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.

[BS]

Posted: 7/19/14 at 5:08pm

There was an actress who was Tony Nominated in a very successful musical in the 70's-who in 1982 worked for me as a part time phone solicitor.

[Phyllis Rogers Stone]

Posted: 7/19/14 at 5:11pm

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

[GavestonPS]

Posted: 7/19/14 at 7:05pm

"I know she only wants to dance but geez her life sounded financially rough."

VIET, did McKecknie write in her book about royalties from A CHORUS LINE? I thought the original cast were given small pieces of the show because of their contributions to the book.

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

Otherwise, I'm not surprised Donna is hurting financially. I'm sure she was paid fairly well while performing ACL (though I think the principals were on "favored nation" status), but she never got the "big money" from film and TV.

(None of this is my business unless she wrote about it in her autobiography. So I'm not asking for rumors, just what you read in the book.)

Updated On: 7/19/14 at 07:05 PM

[Phyllis Rogers Stone]

Posted: 7/19/14 at 7:15pm

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

Wait, what?

[VIETgrlTerifa]

Posted: 7/19/14 at 7:17pm

Seriously. What? Daughter?

[binau]

Posted: 7/19/14 at 7:43pm

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

What do you think?

[Phyllis Rogers Stone]

Posted: 7/19/14 at 7:56pm

I think yes, but that seems incredible to me.

[binau]

Posted: 7/19/14 at 8:14pm

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.

[Gothampc]

Posted: 7/19/14 at 8:37pm

"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."

I thought one of those ACL biographies said that Donna was getting paid more than the rest of the cast. For some reason $1000 per week sticks in my mind, but that seems a bit high for that time period.

But she did have to go through a lot of medical treatment because for awhile she wasn't able to dance.

[VIETgrlTerifa]

Posted: 7/19/14 at 9:07pm

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.