What everyone besides Bette are making in Hello, Dolly!

Well Equity min. for anyone with a production contract is $1700/wk. so you're probably right for the ensemble, but I'd be surprised if Gavin/Kate were making that much. Maybe now that he's won the Tony yes, but not before.

RippedMan said: "Well Equity min. for anyone with a production contract is $1700/wk. so you're probably right for the ensemble, but I'd be surprised if Gavin/Kate were making that much. Maybe now that he's won the Tony yes, but not before. "

It's actually $1,974, which would put most of then ensemble right around $2,172

Updated On: 8/2/17 at 12:51 AM

^^ updated for clarity. I don't know what any of them *actually* make, but your estimates seem high to me

Keep in mind that Equity production contract minimum goes up to $2034 in October. All extras for being a swing, dance captain, etc, change as well. If anyone signed under a 48 week contract or run of show, changes in the pay scale are certainly taken into account.

Huh? Da fuq? Did you see the grosses for "Curtains?" He's def a bankable star. Granted he's been on Broadway a ton in the past decade, but he's still a star. I'd say he's probably in the 20K range, if I had to guess. And the rest are in the 4-6K range.

Why is the hoochie coochie lady making more money that barnaby and minnie fay

You don't understand how Broadway works.

HogansHero said: "DHP does not have significant TV Q, and is not a bankable Broadway star. Your guess is way out of line.





"

Umm...He's been in many a show in the theatre , Dolly is his fifth or sixth on Broadway and I get that even though it's a decade and half behind us, his calling card is still "Niles", he's been in many films and TV show...he's VERY much bankable. Maybe not in the same way that other stars are bankable, but he's still bankable.

Ripped Man-You're correct, but that show would not have lasted without him. Any show that's is created around a starring vehicle is sadly bound to not last. I thought for a while Hamilton would follow that path, but thank goodness it didn't.

dramamama611 said: "Is that really what Bette's making?



"

I think that's the reported amount. 150,000 plus merchandise sales.

I have no job!

Call_me_jorge said: "I have no job!



"

That much is clear...

The simple answer is that we are never likely to know actual specifics.

Plenty of people have this information—company manager, general manager, lead producer, payroll processor and Equity (reps, bonding, pension processing), but this information is confidential and isn't shared (or just as likely, not remembered—if you see hundreds of contracts they all look alike).

As with any negotiation, there is always a question of who has the power at any given moment. And this is very seldom clear cut. Yes Bette Midler certainly had to be wined and dined and could probably just as well write her own contract while a replacement in a small featured role in a long run musical is probably offered a contract—take it or leave it. For nearly everything else it is much more complex with timing and luck playing a big part. This is the one reason actors have agents and lawyers to get the best deal.

Hello Dolly is a good example. While they could have put a production of any quality on stage and Bette would still have sold tickets, it was clear from the beginning that this would need to be a premium production, with absolutely no weak links. The producers know this and everyone's agent knew this too. Clearly the show would want its first choice for every role, but with a nearly guaranteed run in an important production, it's not something an actor wants to pass up.

Other productions are just a complex. Ben Platt was clearly an important part of Dear Evan Hansen but the role on Broadway surely would be a big career boast, who blinked first—we don't (and shouldn't) know.

Also don't suppose the size or quality of a role itself is a determining factor—on occasion an actor in a thankless role may be in a really strong position if the production needs a really strong performer but said performer really isn't interested.