It's ok to get it off your chest.
Saw this in Stephanie J. Block's twitter, "Thanks for supporting professional theatre. Now, make sure it is truly professional... Ask if it's Equity. We thank you! @ActorsEquity
I'm sorry, but I just unfollowed you, Stephanie. #Askifitsequity has got to be the snobbiest thing Equity has ever came up with. What does that even mean exactly? What is the goal? Is it to get an audience member to turn away from a production when they realize it's not Equity? Theater is theater and has the power to move and affect anyone whether or not it's a union production, and frankly most people outside of New York don't even care about that. It's stupid and classist and undermines a lot of talented non-union people who are just as professional but just haven't had their big break yet. Even the most successful people on Broadway got their start doing non-union productions. Well, except that dude who won a Tony straight from Julliard. Still though, Equity has got to stop with this #askifitsequity nonsense.
Being truly professional means paying the artists involved a fair, living wage with access to health care and a pension. Askifitsequity has nothing to do with the talent or quality of the productions people are seeing and everything to do with the ethics of the business model involved. I don't think anybody espousing the askifitsequity company thinks you shouldn't take pride in what you do, they just want you to take pride in what you're worth. And you deserve to be paid a living wage, with money going into a pension and access to healthcare. Of course you want to get into the union, yes it's hard, no one begrudges you for doing what you have to do and taking the steps you need to take to build a resume and begin your career. But when you get to the point where you do turn equity, you're going to want people to askifitsequity because ultimately non Union tours directly benefit producers pockets and limit opportunities to be paid fairly and with dignity.
Floodgates have opened, have to put on my Wellies!
Ok, here's the thing, and this may be my opinion, but I'd like to think this is the aim. The ask if it's Equity is not meant to undermine or insult non-Union actors, even if it seems that way. The truth is, a lot of touring theaters include non-Union tours in their subscription packages with first class equity tours, when there is a clear difference in overall quality. Again, this is not necessarily due to the talent involved, but the overall production is clearly not broadway caliber, which is what a national tour is meant to represent.
And I have no Judgements on actors who take non-Union work, in this climate, getting paid to act is a rare blessing, but honesty more equity tours will create more equity jobs, and help allow more people to join Equity, and thus work at a liveable wage and under protections and regulations that non-Union work does not provide. Do I still have plenty of problems with AEA that I think need fixing, absolutely, but honestly, even if it doesn't seem like it, this can help everyone in then end.
I honestly just wish they'd take up this issue with producers instead of audiences.
actually a lot of the tweets are saying things like "if its equity it'll be a better show" so yes some of it is about quality. its great that equity members are proud but not everyone has the luxury of being in the union. unless you started out as a child actor when you were like 4 everyone was non eq at a point and they need to remember that most non eq actors are working towards joining the union. if they want to make such a big deal about it maybe they should make the union easier to join but then that means more actors and less jobs.
On another note a lot of people have a problem with beacon theater booking non eq tours. arent there rules set up for things like that?
Where are you seeing tweets that say Equity productions are better than non-Equity productions?
I just want to chime in and mention that never in the history of the "ask if its Equity" movement has the professionalism of the non-union actor been questioned. The movement is not just about the actors; the movement is about a theatre/house/producer advertising a "Broadway show" or a show "straight from Broadway" and charging those Broadway prices without representing what makes that show a Broadway show. The way the producers of these shows make the money they make is by advertising it as such, and skimping on things like health insurance and pension, things that are GUARANTEED to a Union member. The audience might not notice much of a difference, but it absolutely makes a difference to the integrity of professional theatre. Further, if audiences are more aware that they are paying Broadway prices for a non-Broadway quality show (Union), and are aware of the importance of Unions in this profession, it may make an impact on their willingness to spend that money for that purpose. This movement is a the beginning of a larger picture, one that more opportunities for Union members to get work, and more opportunities for non-Union actors to join the Union.
i was scrolling through the hashtag. a lot of them say things like "live theaters great #askifitsequity" and i saw at least one that said the quality of the performance is better. I'm looking for that one specifically, theres an image that says "when audiences pay top dollar to attend equity-cast touring productions they will experience the very best of seasoned professionals...." thats kinda bs too cause there are people who have worked non eq for much longer than people who have been equity. i was talking to someone once who said they make more money doing the non eq tour than they would doing the equity tour, which is a reason someone wouldn't worry about emc points or becoming equity. I've talked to a lot of people who have said the union isn't right for everyone nothing to do with talent. theres also a few tweets saying things like ask if its equity the performers perform better because they have better conditions. its great to say hey theres a union and they have great benefits for the performers but they're basically saying anything non eq is going to be crap when they word it like that. why not why not try to get fair contracts for all actors not just equity.
the OP doesn't understand how unions have to operate. You ever see those big rats in Manhattan? The trade unions boycott employers who hire non-union labor within their jurisdiction constantly. In NYC, professional theater is Equity theater. Period. It has nothing to do with non union actors being or not talented. But the more AEA theater that exists and the more the union pressures that to happen, the fewer people will be in the non union talent pool who will be legitimately hire-able.
"i was talking to someone once who said they make more money doing the non eq tour than they would doing the equity tour, which is a reason someone wouldn't worry about emc points or becoming equity."
I promise you. You will get to a certain age where making more money on the surface is NOT more appealing than money going toward your pension, your 401k, you health insurance, etc.
Had to address that first. Now regarding the campaign, perhaps some union members have misinterpreted the point of Ask If It's Equity. But the majority of us have not. It is not about attacking the integrity of non-union performers or productions. Not even a little bit. It is about educating audiences that producers have TRICKED THEM into paying a Broadway price, while they pay their actors and stage managers an unlivable wage and take the remaining as profit.
You may say, "Why should audiences care if they're seeing union or non union as long as they like the show?" I for one, grew up in a union based family. Not performers, my dad was in an engineers union until he retired a few years ago. I saw the benefits. I saw the hard times. And I have been pro-union and DYING to join Equity since I was a kid. I can guarantee you that there are others out there like me who are pro-any-union and would love to know where their ticket money is going.
It's not about taking jobs away from non-union or competing. It's about creating MORE LIVABLE JOBS. So that hopefully there will be even more of a demand for non-union to join! There's strength in numbers. The campaign is a fight for everyone.
I'm done rambling, I hope that made sense, and I apologize that you've felt the way you have about the Ask If It's Equity campaign.
no thats totally true that making more money on the surface isn't always better and i do support unions and i hope to be in the union some day but there are a lot of tweets that seem to be throwing shade towards non eq. i wish we could make a non eq union, its ridiculous that some people wake up as early as 4 am to go to an audition and not even be seen but you can't compare other jobs unions to theater. i would hope that we are all actors and performers because we love it. people aren't non eq because they're willing to do the job for cheaper and get paid under the table, people take the jobs they get offered. would i do my dream shows for free hell yes, would i do a show i don't necessarily love but pays well, probably. but theres also a lot of politics, luck and who you know.
I'm not saying this to be snarky, but do you understand the point of a union and collective bargaining? Being a member of AEA isn't about some status symbol that gets people to take you more seriously or some elite club that lets you skip in front of everyone else at auditions, it's about being in a labor union where you say as a union every member will not work for xyz if these demands are not met. The only way AEA has any control over how producers pay their actors is because every member of the union agrees that if a producer is violating the terms, they won't work for them, even though it means not getting paid. As long as there is a non-union workforce (and there will always be) collective bargaining for those non union tours goes out the window. Which is why you see worse pay, more one nighters, bus and night, paying for a hotel out of your per deim, having to pay flight and luggage fees, HALF pay during rehearsals. AEA can't negotiate on behalf of non union members because they have no leverage.
Its not about you, it's about future you.
"i wish we could make a non eq union"
Not trying to be snarky, but this is an oxymoron. You're saying you don't want to be union, but have a union. Or you're trying to say that you dislike the current stage actor's union (Equity) and wish there was another instead.
there are a lot of people that do see it as a status symbol tho. unions are great yes i get that, I'm not saying i would perform on broadway for free if it were my dream show but if i saw a community theater were doing a show i loved of course id do that for free. I'm just saying that there are a lot of tweets in the hashtag that are basically belittling nonunion actors. and so yea they are making it into a status symbol. I'm not saying anything bad about the union I'm just saying that they don't have to make it seem like union actors are better than non union actors. they're basically saying don't go to a show thats not union. like i said i hope to be union one day but that doesn't happen for everyone. would i like to have benefits? of course. but again they're making it seem like union actors are the only ones worth seeing, not all of the tweets but a lot of them.
by saying i wish we could make a non eq union i mean i wish that there were a union for people who weren't equity yet. basically like how we sit at auditions for 8 hours not to be seen because they're only seeing union i wish they would do things for us to make it better, and of course better conditions. basically i wish that anyone who wanted to be an actor could just automatically be in the union but i know it doesn't work like that
I just spent 10 minutes scrolling through the hashtags and got to about 30 hours ago. I cannot find a single demeaning tweet. Nothing at all. It's all pro-union. None of it says a single thing about belittling non-union.
You have to read in between the lines. When people say things like Union theater is quality they're throwing shade. And there are some that say the quality is better because it's Union. They don't go out and say non Union sucks but that's what they're saying underneath the text. Maybe I'm reading too much into it but that's what I got out of those tweets
But think about it Dying, it's actually really good that it's hard to join the union. Because if the union was totally inclusive, do you think you'd stand a fighting chance at being seen at those calls? No, it wouldn't even be just as bad as a non-union tour call. It'd be worse. It'd be impossible. I know it's hard, I'm right there with ya. More than halfway to my card the old fashioned, points, in line at 7 AM for EPAs, non represented, no showcase upon graduating from a decently but not especially well reputed school kind of way. But keep your nose to the grindstone and keep chipping away. It'll happen for ya, it just takes time.
The issue is TOTALLY with the producers. I have a friend in Bullets. It's a first national. There's no reason it should be non-Union. They have the money to send it out Equity. They're just trying to pay everyone less so they can make more. Stroman was at their rehearsal. Why would a Tony winning director even put her name on a non-Union show? Shouldn't we be pointing our fingers at them and not at the actors who are just truinf to stay afloat.
I know it's good that it's hard to join the union. That's why I'm saying a union for non eq!! Even if it just controlled the audition process a little better like no unofficial lists until an hour before that way the 6am girls can't sign up them and 20 of their closest friends. Just little things or like if they know before lunch they won't see us at all don't tell us to come back after lunch. No manual labor on tours. Just like little things so is struggling to make it can have it a little easier of a time
"Why would a Tony winning director even put her name on a non-Union show?"
EXACTLY! I think the "Ask if it's Equity" campaign should be aimed at CREATIVES. I think it's totally wrong that Broadway directors, choreographers, etc. are allowed to work on non-Equity tours, which then boast of being "Broadway" tours with the original creative team. All the theater unions should work together and SUPPORT each other.
I don't think you're appreciating the efforts that most theaters put in to give non union performers a chance to shine: as far as I know, Paper Mill, Goodspeed, Riverside, Ogunquit, and NSMT have open call days where they basically say "hey guys, we want a day just to see you do your stuff!"
Yes, there's gonna be that girl in the Cassie leotard signing her 100 friends up. Yes, they may type or have a cut off. Yes, it sucks to get up at 3,4,5,6,7,8,9 am to get seen at 3pm. But its been that way since I can always remember. And when you get to be equity there are just as many weird conditions and rules and nonsense!
this campaign is aimed at the producers, but since they only care about profit we have to say to the audience: "Hey, mother of four who just saw a cardboard cut out Mrs Potts on the 2305th leg of the Beauty and the Beast tour...was that worth the top dollar price you paid for your entire family?"
If the answer is, "I don't think so" then the campaign is doing what it set out to do. the same thing happens when a show doesn't find an audience on Bway - if paying for dinner, drinks, and Dr. Zhivago is making you feel disappointed with yourself, the show will close.
But what do I know?
I'm a one eyed one horned flying purple people eater.
Someone mentioned that we should be aiming this at the producers and not the audience, but the problem is that these producers will not respond unless they are forced to. Either the actors have to stop auditioning, or the audience has to stop being okay with paying the same ticket price for a show where actors are making half of what is considered standard in the union world. And GURL, you know the acrors aren't going to stop auditioning for non-Union tours unless the reputation gets as bad as Busch Gardens (or Equity does one of those strikey things where if you take the non-Union tour you're barred from joining equity in the future, I think that has almost happened before?), so Equity's best bet is to appeal to the audience, to let them know that they deserve to be paying less when the actors are being paid less.
Basic economics -- "If unions restrict the number of workers, union wages should increase"
BUT only if displaced nonunion workers are not viewed as a substitute for higher priced union labor.
IF employers are able to hire nonunion labor at a lower cost AND comparable quality (in the eyes of the consumer) they will -- as long as there is an adequate supply of that lower cost nonunion labor. Ultimately, the consumer (those paying for the tickets) will judge whether the product they are purchasing is worth the price they are paying. If they determine it is not worth the price, they will stop buying. Then employers will determine how best to satisfy their customers' needs (get them buying again). If that is to hire higher cost union labor, that is what they will do. If it is something else, they will do that -- all to create the balance of selling their product at an adequate level at a return that will satisfy their investors.
It all comes down to what consumers are willing to purchase and at what price. Saying "ask if it is equity", whether intended or not, is suggesting that the consumer should not be satisfied with the quality of what they have purchased at the price they are paying. Maybe I am crazy, but I think few consumers purchase anymore on the basis of whether it has a union label. This seems a wrong-headed way to "shame" employers/producers into admitting they are putting on a substandard production at too high a cost to the consumer -- and that they should rethink their strategy by instead developing a "quality" production at a higher cost and take a lower profit (since ticket prices presumably are already at levels one would associate with that level of production). No matter how you cut it, it is implying (maybe not intentionally) that the production is substandard.
So what do you do about it? Unions restrict membership to increase work and wages for their members. So not surprising that AEA is restrictive. Yet, since it is not restrictive based on any objective assessment of talent or skill AND the opportunities for union work for non-members are limited (maybe even falling?), there will continue to be a large number of highly skilled, very talented workers willing to work for lower wages and poor conditions NOT BECAUSE THEY WANT TO BUT BECAUSE THEY HAVE NO CHOICE.
I wish I had a solution I could offer. Unrestricted AEA membership doesn't seem at all feasible. Additional avenues to earn membership may be a possibility. But ultimately, significantly more members will be viewed as detrimental to current members. Unless of course, increasing membership actually achieves at least one broad union objective -- make it virtually impossible for employers to staff their endeavor with quality non-union labor. Then maybe the non-union productions really will be of a clearly different caliber that would be noticeable to the buying public. And they will stop buying tickets. And employers will need change their approach.
^Bravo, noplacelikehome! You hit the nail on the head.
OK. I was trying to stay out of this one because we have same damned arguments every damned time, but the comment above "NOT BECAUSE THEY WANT TO BUT BECAUSE THEY HAVE NO CHOICE" drew me back in.
YES. You DO have a choice. And if you are enjoying this three day weekend, or ANY weekend EVER, it's because of the LABOR movement and all of the CHOICES that people who came before you made in order to build better, safer and more remunerative conditions for workers in their generation and **for generations after them**.
The Ask If It's Equity campaign is NOT implying - nor meant to imply - that non-union performers are less talented. Not at all, not even the tiniest bit, and if you are reading that into every tweet, you might want to examine your own insecurities. Because that is simply not true.
The campaign is about pointing out to audiences who are paying the SAME ticket price for Equity shows vs Non-Equity shows (for example, in a "Broadway Series" in Performing Arts Centers in cities all across the country), that if it's a non-equity show, a significantly *smaller* portion of that expensive ticket price will be going toward a living wage for the actors. And that they might want to know that, and possibly speak up about it and insist on fair wages for the performers they so admire. Especially since all the other people working on those shows (Director, Stagehands, Musicians, etc.) very likely ARE union.
That is it. That is what the campaign is trying to point out. PERIOD.
The campaign is targeting all the wrong things. Plain and simple, no matter what it's "trying" to say, it's making all of us non-union actors look like shit. That's it. I have friends all over Facebook posting "Proud to be Equity" and it makes me feel like shit. Not because I'm not trying. I'm not "choosing" to be non-union. By no stretch of the imagination am I choosing that. But if after 7 months of auditioning and nothing happening, and suddenly a non-union tour offers me a contract, for sure I'm going to take it just to get some reprieve from being a waiter and being in the city.
Focus on the Producers and the creatives. I mean, how great would be it be if you, as an Equity member, could scab openly. Because that's what they're all doing. The Producers have the money to do Equity shows. You can't tell us that a tour isn't "Broadway" quality when it's calling itself a first National tour, and direct from Broadway and directed and designed by the people who brought it to Broadway, except they're using non-union actors. It's still the same damn product to most people. It's not the actors faults.
"It's not the actors faults."
NO ONE SAID IT WAS! Actually, we have all openly said it ISN'T! Im sorry you "feel like shit" when your Union friends say they're proud to be Equity...but actually I'm not. They SHOULD be proud to be part of a labor union that is constantly fighting for their rights. Being part of Equity is not about being more talented than someone else and it's unfortunate that you're seeing it that way.
I've never understood this campaign. Why would an audience member #askifitsequity? Who really gives a shit (except us)? Many nonunion theater companies and tours bring audiences by the droves to see their shows. Obviously, their business models work so why should they change? And why should a patron be DISCOURAGED from paying money to see a production because it's nonequity? Who does this help exactly? Ultimately, it just hurts the art form as a whole. The union should be targeting producers, directors, and venues. And finding a way to DEPLETE the nonunion work force. Right now, there are waaaay too many fierce noneqs to make a producer not consider casting their project completely nonunion. What exactly do they have to lose? Currently, they have nothing to lose from what I can tell. And I GUARANTEE that #askifitsequity isn't going to change that. Making every single talented actor join AEA? Now that might do something...
Let me clarify:
When is it ever a good thing to tell an audience member to NOT go see live theatre? No matter the union status, talent level etc. We should be encouraging and propelling the art form ALWAYS, in all ways.
Let's make it IMPOSSIBLE to cast a professional, high quality production nonunion. I think you'd be surprised at the results...
^okay, I'm done after this post because clearly some people are incredibly stubborn and don't understand that this campaign AND EQUITY ITSELF is not about being talented. If you re read my first post in this thread, it answers every single point you brought up. There are people in the world who are pro union. I'm not saying they're pro-Equity, but just pro union across the board. These people probably care that their Broadway priced ticket is going toward unlivable wages for actors and mostly into producers' pockets. They care because they have morals and beliefs. If they're educated about these shows. Which this campaign is trying to do.
And now I'm done with this thick headed thread.
If this is such a big problem for non-Eqs whose feelings are hurt (really????) to the point that you can't understand that actions taken to strengthen the union are about ALL of us and the future of ALL of us, then you are not ready to join ANY union. Being in a union is not about me, myself, and I.
Recently I've made a lot of personal [romantic] mistakes. I've also been feeling down and not agressive enough on the audition scene. All of social media makes me feel sad, and I check my email like a maniac for a dream job I'm waiting on that apparently has started to make offers. I'm just starting to feel crazy and so negative since my personal life and audition life aren't going great at the moment.
How do you harness your energy into other activities? What do you guys do to put your mind in another place instead of on the mistakes you've made?
Hi! So I love my voice teacher but he's expensive and I don't go weekly. I'm looking to supplement with an accompanist who can mostly just play through my stuff and maybe also help with rep/vocal stuff. I'm open to either, just looking for someone affordable! Anyone have people they love to use? Thanks!
Jacob Carll! He's an amazing pianist, has great rep knowledge, and just overall positive person. And affordable! His website is below:
Mark Galinovsky is awesome and reasonable! I've worked with him for years and keep going back! Mag616@nyu.edu
It's my night off. There's a decent class happening to sing for a casting director. But it's $100. Hm..Thinking of all the things that $100 could get me.... instead of singing 16 bars for a casting director.
Is the casting director in charge of a Broadway/National Tour-level project that you are insanely right for? If so, likely worth it. If not, probably not. That's, like, ten huge margaritas at Blockheads.
It's Mary Sugerman (spelling?) - I mean it's a casting office I'd like to get known at, but I don't know what she's in charge of.
Jersey Boys and Phantom, mostly, but is very involved at Tara Rubin in general. If you're super right for those two or Les Miz, probably worth it.
Hm. It's just so hard to throw down the money since I've taken classes before and nothing came of it, you know?
Take Arnold Mungioli's class instead- same format for only $10
but Arnold doesn't really cast anything....
He doesn't cast as many high-profile projects as he used to, but he still casts quite a bit, and it's good to be under his radar. And frankly, it's worth the $10 just to get his and Sande's (wonderful and extremely helpful) feedback.
Not to diss anyone, but I don't really take classes to get feedback on my material. I think the product I'm selling is going great. It's just a matter of getting seen by the right people.
nycactor haha GET IT
Just being honest lol I'm not worried about my book or anything. Just want to sing for people I can't get into the room with.
It looks like breakdown express changed all of their passwords! Is anyone else experiencing this? Has this happened before?
I noticed that too! :-/
mine still works a/o 10:15pm
I'm so jealous. I need to know what happening. Not that I don't trust my agent but I want to let her know what to push me for. The struggle is real!
"Don't get me wrong, I'd fuck him, but I just didn't want to call him back to dance."
Anyone taken one of these? They just advertised on Playbill and STNJ is one of the companies I would LOVE to work with. But $270 for a weekend is a good chunk of change and there are other intensives I'm interested in.
i did their senior corps programs all through high school so I've met bonnie monte a few times and she's really nice, i feel like she's more of a director but its more of she's important because of who she is. this was all years ago but if they're a theater you really want to work for id say it might be worth it. she's really important like the day she would come to talk to us was always a really big deal and she basically runs everything at the kirby theater. again this was all like 10 years ago but she is very important and is probably a good person to get in front of.
I was an Apprentice years ago. It's a mixed bag, like any other place. I didn't learn much, TBH, nor did it connect me in any way that I couldn't do on my own.
NYC is tiring to everyone, but money-wise staying in the city is not looking like a strong possibility after this audition season. What are some other towns people live in where they feel like they can make a go of it at performing. Other than LA of course, probably just as expensive as NYC! Any help/advice/knowledge would be greatly appreciated!
Boston!! There is a flourishing theatre scene in Boston. Huntington, Boston Playwrights Theatre, American Repertory Theatre, Club Oberon, etc. etc.
It's pretty amazing. I'm loyal to New York but I'd be lying if I said I didn't consider Boston, too, every once in a while.
Also Chicago of course.
^all T, no shade, but if money is your issue then Boston is not the town for you. Love it there too, but it's expensive.
I personally love Florida. All the major theaters are sort of within driving distance of each other, and once you get into the scene it's easy to continue getting work...equity or not.
I've worked in Florida a ton, and I'd agree. I worked with a lot of local actors who were based out of the Tampa area and worked a ton.
I have friends that worked a lot more after they moved to Chicago.
I agree with the Florida statement...I lived there for a while and would go back in a heartbeat! Being in the Orlando area is a great central location to getting South to Tampa etc. and Northern end of the state in pretty easy driving time. Cost of living is much lower than many other areas in the US.
Also, Atlanta is another booming city for both Theatre and Film. The suburbs are way nicer than the city and less expensive...however, this is also a great location distance wise to surrounding states for both Equ and Non Equ work... also close to UPTA, SETC etc.
Oh Atlanta is TOTALLY booming right now, like Germany did 4-5 years ago. One of my assignments for a class in college was city reports and I happened to be assigned Atlanta. It was good then, but it's exploded since.
I have a Few aquiantances there, one a good friend who's been working almost non stop since she moved there. She'll be leaving by next year most likely, but shes been able to do acting full time and still can have a social life.
Does anyone have more info on Chicago? There's tons of great companies there and I'm assuming living is cheaper...
What about Texas?
Chicago is a bad place to be an actor if you're not white. If you are white, you will likely find it an awesome and fruitful place to work and have a life/be a person.
Philadelphia! I've lived and worked here for the past few years and I love it.
Pros: Cost of living is a lot cheaper, lots of variety in the type of work available, really great people who care about the quality of the work. Also very close to NYC.
Cons: Obviously not as many opportunities as NYC. It takes a little time to get your foot in the door with some companies, so this is more of a long game type of town.
Also, not sure if this is a pro or con for you, but most of the work available is non-equity. There are some equity contracts at bigger theaters but those have already been cast for the upcoming season. At the big theaters, Philly's non-eq tracks are usually cast right before rehearsals begin.
If you have any questions or interest in chatting more about Philly, e-mail me at firstname.lastname@example.org.
For those of you who lived in FL. Would you say Tampa was a better location than say the Ft. Lauderdale area? I'm looking to relocate but can't decide which area would be best for being centrally located. Thanks!
I think Tampa would keep you more central. Plus you're closer to Fort Myers (Prathers, Florida Rep) and Naples (some Equity theaters).
Upstate. The Hudson Valley. Beautiful, affordable, easy access to the city.
Living in the Hudson Valley is affordable? Even considering the commute?
Raja- that's an interesting observation about Chicago. I just thought I'd add that most of my graduating class, as well as several people in the years before and after, are in Chicago. The only person who consistently gets (professional) work and has representation is not white.
Affordable in comparison to NYC. Especially considering what you get for the money. But a 200,000 house, a mortgage under 1,600 a month, gets you a lot more then 16 a month gets you in any of the 5 boroughs. Yards and walk in closets and such.
Where are you talking about Water With Lemon? Because I dated a guy from Woodstock for a while and he was constantly saying how expensive everything was, not New York expensive but expensive (he'd lived in New York too, so he could make the comparison). It was also not the easiest place to get to unless you had a car. Plus if you're equity there's not much up there if I remember correctly. I'm a true upstate girl (as in north of the catskills) and I can only think of Cap Rep/ATF off the top of my head. I miss living outside of the city and would love to find a place in the hudson valley eventually so I'd really love to know :)
Raja - Boo. For someone with insightful and worthwhile posts, I think a message like that is uncalled for. Chicago is a rich, diverse city. It may not be New York or Atlanta, but it has many opportunities for diverse actors (and people).
Download the Truvalia app and price homes in Cold Springs, Peekskill, Croton-Harmon. I should have been more clear and said "Lower Hudson Valley" instead of Upstate.
You still audition out of NYC, taking the MetroNorth in the morning, but your living expenses are far lower. Not Minnesota low but far lower.
Not exactly a bitch, but has anyone worked for them, what's your experience been like? I'm just a little confused by the website, can you more or less make your own schedule, or are you more at their mercy?
I've just had some bad experiences with similar services (Cough-insta-cough-cart) so would just like to hear some experiences/opinions, as im a little light on cash right now and am looking for options...
Does anyone work for a restaurant that's hiring, either now or very soon? I'm on the hunt for a part time gig to supplement my other survival job and I'd love to get some leads instead of just hoping I find somewhere decent. I have about 2 years NYC restaurant and catering experience. I'm ideally looking for something where I can about $150 during a good shift. Suggestions?
Meet and perform for this manager from a MAJOR bi-coastal firm.
Perform either a song or monologue for this busy agent. This is an opportunity to choose what you do best in a seminar style event.
You can come out and further your career, or you can stay home and be lame. Totally up to you.
© 2010 Audition Update, LLC. | Site Design by Karl Messner