Actors’ Equity Association was founded May 26, 1913, in response to centuries of exploitation at the hands of unscrupulous producers. Until Equity came along, theatrical producers weren’t bound to: any standards where working conditions were concerned; paying actors a minimum wage or for rehearsals; holding rehearsals to set time limits; or guaranteeing employment for any length of time during the run of a show. Actors had nothing to provide them security: If they were on the road and the play they were in folded, they could be stranded in cities miles from home. If a play was closed prematurely, actors could find their pay suddenly cut off. If a producer wanted to fire an actor, he could do so without notice.
Given the rise of the trade union movement across Europe and the United States in the 19th century and the growing sense among the workers of the world that they must unite to survive, it was only a matter of time before actors realized that their profession was just as much in need of a protective union as, say, the coal miners. In May 1913, the Actors’ Equity Association constitution was drafted. Six years later, the American Federation of Labor (later the AFL-CIO) granted a charter to what was then called the Associated Actors and Artistes of America, with Equity the largest player. That year, Equity called a strike to force producers to recognize Equity as the actors’ bargaining agent of record. The 30-day strike closed 37 shows, kept 16 more from opening, and cost producers millions of dollars. When the producers finally succumbed to the will of the work force, they signed a five-year agreement that met most of the union’s demands. Thus began a relationship between producer and union that has continued to this day.
In later years, further important protections for the membership were enacted, including bonding, the procedure by which a producer puts up a certain amount of money before rehearsals begin to ensure that he meets payroll. In the 1960s, the union got producers to match rehearsal pay with the minimum performance salary — thus recognizing that time on the job includes rehearsing and not just performing. Besides money matters, Equity has been a long-standing advocate for minorities, leading the fight for civil rights and anti-discriminatory policies.
The union has always promoted itself as the professional actors and stage managers’ union; if you are a professional, according to Equity, you should be a member. Joining Equity is relatively straightforward; any actor working under an Equity contract can join during the term of that contract, a handy shortcut for those keen on union membership. “I joined the club through Live Oak Theatre on our production of The Crucible,” says Barry Miller. “I told Don [Toner] I was ready and asked if he would offer me an Equity contract for the part of Rev. John Hale. One contract, $860 [in initiation fees], and bing-bang-boom, I’m a member of Equity.”
A second way to join is through the apprenticeship program, known as the Member Candidacy Plan, that endeavors to bring young actors and stage managers into the fold gradually, with time spent observing professionals in various projects before the candidate attains professional status. “Basically you get points [one point a week for every week of rehearsal and performance], and after a certain number of points, you are given your card,” explains Guy Roberts, who received his card this way. “I think the candidacy program is very valuable for young actors who are looking to join the union. It forces people to pay their dues.” Most members join via this route. Actors’ Equity currently boasts some 42,000 members in good standing who work in theatres across the country.
This article appears in June 9 • 2000.