What the devil does “free theatre” mean? Earlier this week, I was at a gathering of industry types (actors, directors, writers) and someone sidled up to me and asked, “Hey, Mark, you doing any more free theatre these days?” At first, I felt insulted, as “free” implies I’m not paid or appreciated and that theatre in this town isn’t a worthy effort of my time, energy or expression. Granted, performing in Equity-waiver theatre in Los Angeles can be taxing, but come on, why pour on the insult(s)? My response was, “I choose to do theatre wherever and whenever I want, no matter the pay. It’s the project itself that draws me to participate or not.” As I pondered this though, it gnawed at me on a deeper level. “Am I being taken advantage of?” “Are we as actors gullible in accepting whatever is before us, so something more may come our way (future work on stage and/or film)?” In reality, our work as artists rarely translates into paying gigs. I’m not talking about 99-seat waiver pay which certainly doesn’t pay the bills or put food on the table. I’m talking about actual union paying gigs. Then I considered what an Ovation-nominated actor friend of mine told me as we chatted about gasoline prices and how ridiculous it all is. When I asked if she would’ve been able to accept a role in a musical that I oversaw as artistic director about a year ago, she said, “No. I would’ve lost money by taking on that role, driving from the Westside to Hollywood and back. And that means I would’ve missed out on that Ovation nomination.” Just hearing those words pour out of her mouth saddened me. This means other wonderful actors must be considering gasoline as yet one more deciding factor to do “free theatre” in Greater Los Angeles. Heck, even I did that recently. An extremely talented director approached me about auditioning for his soon-to-open show. By the time I did the math of what it would cost to drive back and forth for rehearsals and performances minus my pay as an actor, I would’ve lost over $300 – to do “free theatre.” I decided to pass on the audition, although I certainly appreciated the “ask.” So…why do we do this – this “free theatre”? For the glory and fame? For a chance at something bigger? Because we want to please someone? To do favors? Don’t want to hurt someone’s feelings? The need to perform before a crowd so somebody will appreciate me? …? For myself, I choose to perform in productions which challenge me as an actor. I choose to surround myself with people (directors/writers/producers) who are creative, goal-oriented, caring and allow for collaboration (to a point). I choose to do theatre in Los Angeles because it excites me. But I also know what I won’t choose to do. My time is precious and I want to make the most of it – as an actor, director, writer as well as a person. And I now know other mitigating factors are beginning to impact my decisions as an artist. That is the reality each of us faces – “free theatre” or not.
Mark Kinsey Stephenson
LA Stage BLOGGER
3 responses so far ↓
1 cate caplin // Aug 20, 2008 at 3:57 pm
I just read your article and often ask myself the same thing… why IS it that I do what I do for so little money inbetween the corporate work
and television gigs and the higher paying creative work that comes up inbetween time…
I, like you LOVE being emmersed in a collaboration with fellow artists that inspire and challenge me to grow and explore and express in new inventive ways - Does it make dollars and sense?? Not really, but when I debate with some of MY cynical friends who give me the same thorn you got in YOUR side defending the work you are involved in, I always say, hey, you can PAY for acting classes and workshops or you can chose to be IN a production working your craft in a professional production, be it as an actor, a director/choreographer, writer, scenic artist… what better training than doing the real thing
for a paying audience … When productions are stressed or when personalities are clashing or when weirdness emerges within that artistic utopia I was hoping to be a perfect part of, it CAN be dissapointing and disheartening and downright unpleasant - Unfortuantely I’ve had a few too many of those along the way too, but I
have had some wonderfully enriching and artistically fulfilling collaborations too and I guess that’s what we all continue to strive
for, or else why do it…. ? Sure, I love being paid lots of money for my work and appreciate it when it comes along, but I also know that I
need to be involved and associated with a creative community and so I am forever “planting seeds ” and looking for those opportunites - I know I stretch and learn and grow from each and every experience - That
being said, to each his own… it’s a very personal call…. (!) I’m a theatre addict too, you’re not alone…! oxox
2 Richard Hamner // Sep 6, 2008 at 10:17 am
I believe Cate sums it all up when she says “its a personal call”. I spent years in theatre in Houston, Texas where I toiled way too long as a company member for a prominant theatre that, in the end, used me for their own purposes and did not give back. Some of my best years as an actor were passed there, and, while I was rewarded with several very good roles & experiences, it ultimately did not benefit me financially or professionally to remain. Since moving to Los Angeles, I’ve been even more reticent to take part in shows that would take months of my life to rehearse & perform. It’s so tough to find that balance between doing something that will illuminate the artistic spirit within and still make sense in the material world, rewarding both the soul & the man, the artist & the actor. As Cate says, its a personal call, and either you answer the calling or you don’t.
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