On Monday, June 22, a crowd of nearly 100 theatrical artists gathered at the Furious Theatre Company’s home (the Carrie Hamilton Theatre at the Pasadena Playhouse) to learn how the unions and guilds benefit the artists and the arts community as a whole in Los Angeles.  Attendees included artists ranging from actors and producers to playwrights, directors and designers.

The discussion panel consisted of six different union and guild representatives with LA Stage Alliance Executive Director Terence McFarland serving as discussion moderator.

“The goal tonight is to facilitate new kinds of dialogue and relationships,” said McFarland, ”and also to share basic information.”

Actors’ Equity Association (AEA) sent 25-year staff member Michael Van Duzer.

With 40,000 members nationally, 10,000 of those in LA, AEA is the oldest professional acting union in the US, representing actors and stage managers, boasted Van Duzer.

Initially founded in 1913 because of poor treatment of actors who were not considered stars, Equity has grown leaps and bounds since its beginnings. “We started with the idea of the weekly wage and moved on during the years,” said Van Duzer.

In 1930 AEA petitioned for paid rehearsals. After 1950 there were two general strikes which reshaped the union and demanded better health care benefits for members.

But their desire for change extended beyond rights for actors. “AEA was on the forefront of many progressive social movements,” said Van Duzer.

In the 1950s and 60s AEA refused to blacklist suspected communists and would not play in segregated houses. It was also the first union to support the organization Equity Fights AIDS.

AEA has had an office in LA since 1920 and this committee continues to report to regional boards under a democratic system, said Van Duzer. “Everyone gets to speak,” explained Van Duzer. ”We are a smaller union, therefore we are more responsive.”

Charles Berliner spoke for the United Scenic Artists (USA), an organization that represents everyone from production and art directors to costume designers and computer artists.

With 500 members in the Western region, 300 of those coming from Southern California alone, Berliner proclaimed that USA’s members are some of the best trained and most talented scenic artists in the business.

“When you hire from USA you are getting someone who actually works in design for theatre,” said Berliner. He stressed all contracts (aka collective, standard or project only) are designed through USA’s payment agreement model. They center around the amount of work the artist is putting in, not on the scale of the production or the size of the theatre.

“Whether it happens in a 35 seat theatre or a 1,000 seat theatre, we still have to put in the same amount of time and effort,” said Berliner. ”Everyone has to be fit in costumes.”

These contracts are very specific, Berliner explained. There is a cover sheet expressing the agreement between the employer and the union filed in triplicate (one each for the employer, union and artist) which allows the union to make pension and welfare plans available to their members.

Through contracts and any other means, USA works to help their members, said Berliner. ”USA has also taken the economy into account and is developing new guidelines to help members through this difficult financial time,” said Berliner.

Gavin Koon represented the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts (IATSE).

IATSE is the largest working pre-professional labor union in the world with 115,000 people in the U.S. and Canada alone. Four hundred separate unions comprise IATSE including theatre, motion picture and broadcasting.

“It might be easier if I tell you who we don’t represent: actors, writers and directors,” said Koon. Because of the organization’s range of artists, Koon believes IASTE members get the best of all worlds because they can float freely from film to theatre and everything in between.

“If you are choosing this as a living, at the end of the day you shouldn’t be punished,” said Koon. ”You should be able to pursue whatever works for you.”

This means IATSE encourages its members to have families and other normal life experiences that most professionals pursue, Koon said.

They do this by maintaining close contact with their members and working out specific contracts such as travel agreements to prevent abuse that can occur when people drift between fields of work. “When people move from job to job, we protect them,” affirmed Koon.

IATSE also provides skill training sessions to keep their members up to date on new technology which gives them a “leg up” in their field.

“We make every effort to look for new training opportunities because there are so many new technologies out there,” said Koon.

Literary Managers and Dramaturgs Association (LMDA) representative Scott Horstein introduced himself by answering the question on everyone’s mind.

“The biggest question we get is: what is a Dramaturg?” said Horstein. “We are story analysts, stewards of the play,” said Horstein. ”Essentially we serve as a liaison between the playwright and the director to make sure everyone is on track with the social, cultural and historical world that everyone is supposed to be in and the kind of story that we want to tell. ”

Through research and time spent in rehearsal, the dramaturg clarifies the story the theatre wants to tell the community by staging this play, said Horstein.

Even though the work they do is expansive and open-ended, LMDA remains a small professional association (not a union) with only 600 members nationwide.

“Dramaturgy can be thought of as both a profession and a discipline,” said Horstein.

LMDA has a large university population and is working through grants and general theatre interest to pair dramaturgs with directors. They also work with many national playwriting festivals and are building international ties by introducing new dramatic literature from members in Canada and Mexico.

“Masters of the theatrical universe,” is how Dramatists Guild’s representative Dan Berkowitz described playwrights. Despite this grandiose title, Berkowitz says that being a playwright is simultaneously one of the most awful and wonderful art forms to pursue.

This volatility is one of the many reasons Berkowitz believes the Dramatists Guild is a crucial organization for playwrights. “As owner of your work you are an independent contractor, the playwright stands alone,” said Berkowitz. ”The moment you become a member of the Dramatists Guild you are not alone anymore.”

As a guild, not a union, there are 6,000 professional writers and a legal department behind you at any moment, said Berkowitz.

He stressed the three basic concepts on the playwright’s Bill of Rights that the Dramatists Guild honors: the playwright owns his/her own work; she/he has artistic control of production; he/she must be paid for his/her own work.

Berkowitz joked that many playwrights are so desperate to see their play go up that they give away their most basic rights. “The purpose of the Dramatists Guild is for the playwright to realize their own net worth,” said Berkowitz. ”They deserve compensation and recognition.”

Board member of the Society of Stage Directors and Choreographers (SDC) Michael John Garces said that being a member of SDC not only certifies you as a legitimate director but also helps protect your basic artistic rights.

The work and intellectual property of directors and choreographers is often copied and reused because it cannot be copyrighted, Garces said. “I cannot tell you how frustrating it is to see work copied and the director with the original work not be recognized.”

Members of the SDC can’t get their work definitively protected against such artistic crimes, however they are held up to a minimum standard for their work and collective bargaining. This means members of SDC are more accredited in the eyes of many theatres and are therefore more likely to get work.

“Your rights are protected and you are better equipped against the natural state of competition,” said Garces. ”Joining has been eye opening for me.”

AFTER INITIAL INTRODUCTIONS, MCFARLAND PROCEEDED TO ASK THE PANEL SELECTED QUESTIONS FROM THE AUDIENCE.

McFarland: What standard questions do you usually get about your organization and what is your answer?

Garces: Why join SDC? And I tell them you are getting compensation and a good reputation.

Koon: Most young people have technical skills and they don’t know how to get a job. IATSE spends a lot of time explaining how to do this.

Berliner: People ask why should they join and I tell them, “You don’t want to be the lone Don Quixote out there fighting the windmills of their minds.” We can use our contracts we have developed throughout the years and [you can] go in there with something you know will protect you.

Van Duzer: Everyone asks, “Why should we pay the actors?” They are doing a job, they train themselves like you train yourself; they make a choice to be professional.

McFarland: At what point should an artist start to interact with their particular union?

The Dramatists Guild, IATSE and LMDA agreed that as soon as the person knows he/she wants to do the art form professionally he/she should join.

Van Duzer said with AEA it might not be a bad idea to wait and learn as much as you can before you apply for your Equity card. ”As a performer you are competing against a lot of people, so judge yourself against your peers and determine if you are getting those better roles,” said Van Duzer.  “If you are not, maybe you need to wait and learn more.”

Even when you are not Equity, AEA does offer an Equity candidacy program that allows you to work within an Equity company as a non-Equity member.

Berliner believes it is in everyone’s best interest if young people are working to get them to join. However there are exceptions.

“I have many people calling me up who are designers who want to go into design for theatre but have no experience actually designing for theatre,” said Berliner.  “I tell these people it’s important to remember that their peers went to school for theatrical design and are better equipped to do this kind of design. The competition is stiff.”

McFarland: Is your membership increasing or decreasing?

All unions and guilds represented responded that their numbers are increasing.

McFarland: Where do you see LA Theatre going in the next decade?

Garces: The LORT Theatre model is going to have to change because people are less inclined to subscribe. More midsize organizations that can sustain more professional activity will boom.

Berkowitz: I hope people will operate on a slightly more professional level so people don’t do theatre just to get into film.

Horstein: The future of dramaturgs is tied to new plays. I believe, I hope, that as more new plays are produced, playwrights and dramaturges will travel together as linked working pairs to rolling premieres of the writer’s work.

Berliner: The future for designers is to go to our past and build community. We need to mix it up and have different designers work together and create a community locally.

Van Duzer: The next wave of theatre is in Vegas with all the technology being used in shows. We will need to work with this technology and make sure it does not get out of control and compromise the safety of our actors.

Van Duzer also believes because LORT theatres cost so much money, the 99 seat plan will have to be done away with and actors in LA will begin to get paid for their work in smaller houses.

McFarland: What criteria do you use to welcome new members? Why hire your members?

Van Duzer: Producers know there is a difference in quality. We have them audition to be Equity.

Koon: It is way more efficient to work with someone who knows exactly what they are doing. Our members have skills and years of experience behind them.

Horstein: Mature and beautiful work comes from us. We are trained to look at exactly how we are telling the story; we keep the communication going between the producer and playwright.

Berkowitz: If you are a writer you need support.

Garces: As a member of the SDC people hiring you have a reason to have confidence in you as a director. SDC members are qualified directors, being a member is a verification of your professionalism.

The forum ended at about 9:30 pm, followed by several hours of informal discussion and networking between the panelists and the attendees. For information on future LA Stage Alliance forums, visit www.lastageallinace.com/community.asp.

THE FOLLOWING QUESTIONS WERE ASKED ELECTRONICALLY. THESE ANSWERS WERE COMPILED FROM THEIR RESPONSES.

What are your thoughts on “membership” companies where artist members pay dues to the company?

SDC: From a union perspective, I would imagine this is a case by case question. Seems to me there are many forms this could take some which support an artist, some which may be less supportive.  I would need some specific examples to explore much further.  In the specific ecology of Los Angeles Theater, it seems to make sense as a way to provide artistic homes for theater practitioners, however there might be concerns in individual cases with regard to the amount of dues and what members were getting for those dues.

USA: As long as the Designers working for those companies are paid, it’s OK!  Seriously, I realize there are “Actor Workshop/Theatre Companies” offering “classes and constructive criticism.” What can such an arrangement offer a designer? The question always is: Where is the money going from the dues?

Dramatists: I know they probably create a great sense of camaraderie and give people a “home” in which to work, and they may also simply be necessary for survival. As long as they don’t become so insular that they become exclusionary, why not? I come from a different type of culture but I’m not about to condemn them willy-nilly.

AEA: Paying dues to belong to a company, like choosing to join any club, is a personal decision and is not the business of the union.  We only become involved when that company decides to produce a show for an audience. If asked, I always encourage people to fully investigate companies before joining–how much of a say to you have in artistic decisions, what “work” requirements might exist, is there a way produce your own production, etc.

What outreach do you do, or do you think should be done, to small companies to encourage them to file contracts and hire union/guild members?

AEA: If we’re talking about companies in the Los Angeles area, I don’t believe there’s any need to encourage companies to use union members as the majority of the acting pool is union. The real question, if I understand it, is about encouraging companies in LA using the Plan to convert to contracts that would pay a salary and benefits from the first day of rehearsal. The primary job of business reps in our office is to administer existing contracts. This doesn’t mean we ignore potential contractual work but, as we service the entire Western Region, we have little time to actively organize non-union companies. There are employees of the union whose jobs are to organize companies or areas of work. Their expertise is focused by decisions made by our Council (which governs Equity). To seriously organize the current 99 Seat Theatre scene would take a decision by our Western Board and the Council to spend our resources in that manner.

USA: If there were more events such as last evening, I’m sure the other participants and I would try to be there. The unions that represent those artists working in the theatre are well-known entities. As discussed, some of us have been around for over 100 years! Our membership is our best “encouragement” and “calling card”-their artistic work speaks for itself. If they ask you to sign a USA 829 Coversheet, don’t automatically say no, consider it! I get calls all the time from emerging small companies requesting information regarding the hire of United Scenic Artists Designer membership. Be proactive! Part of the growth of theatre in Los Angeles depends on the theatre community starting to act like THEATRE IS A BUSINESS! Think of it not as “Show Business” but the “Business of Show.” (I’d like to claim that as mine but it came from the “late-great” Costume Designer DONFELD.)

To paraphrase a “late-great” President: “Ask not what the unions should do to contact you; ask what you can do to gain information, and from contacting the unions that can help you.” (Just look at the next question and weep.)

Dramatists: Whenever I’m on a panel, or when people come to me for advice, I try to make it clear that working with a contract, no matter how simple and rudimentary, is critical. A professional theatre will always offer some sort of written agreement; if it doesn’t it’s really up to the individual playwright to bring the subject up, keeping in mind that he or she is probably not dealing with reputable professionals.

SDC: We are fortunate to have had founding members who had the vision to also create a foundation. This means we have a mission to advance the art form as well as protect our members. We are in constant contact with universities, young artists, potential mentors - all programs that constantly expand the universe for the union.  We don’t want anyone to join the union until they are ready to work consistently at a professional level and we don’t want companies too small or unformed to be restrained by more agreement than they need. Generally these two principles balance each other.

LMDA: LMDA is a professional association and not unionized.  However, regional representatives of LMDA try to encourage small companies to consider, understand and value the role of a dramaturg in their work and, if possible, to support the company in finding a dramaturg to work with.

How do you feel about theatre in LA as a profession vs. as a hobby?

USA: If you are “paid” for your creative effort as an “artist,” it is “a profession.” If you do it for nothing, you are either: 1) Learning your craft, [there is a time and a place for that and there is much to learn]; 2) A fool; or 3) Enjoying a “hobby!” Hopefully, the Los Angeles Theatre Community wants to be “a profession” and not “a hobby!”

LMDA: Though there are many highly-trained, well-salaried dramaturgs in the area, much of the dramaturgy and literary management in the region is paid very little.

Dramatists: First, it seems to be possible to do theatre in LA as a profession only for a very few people, primarily those who work regularly for the larger venues, or are terribly in demand as a director, designer or so on. Even then, most likely some high-paying out-of-town jobs would be necessary if one is freelance. My sense is that most of the people who make a living in show-biz in LA do it primarily through film or TV, which allows them to subsidize their theatre work-which is fine.

Second, however, there’s another, more subtle dynamic going on and I almost hesitate to say it as it will undoubtedly bring a chorus of criticism, and that is that there is-at least in my experience, and with exceptions-a more intense theatrical work ethic in New York than there is in LA. Perhaps it’s that NY is weighted more toward theatre and LA is weighted more toward TV and film, which makes people take the theatre work more seriously there. Who knows? But I compare my experience, for example, as a “book doctor” on an off-Broadway musical, or recently performing my own one-man show in a festival, where there wasn’t a minute wasted in rehearsal with the more laissez-faire approach I’ve experienced out here. As I said, there are exceptions (on both coasts) but it seems theatre is generally more hard-edged in NY.

AEA: As the majority of people who call themselves actors in LA belong to at least one 4-A Union, I think it’s hard to label theatre as purely a hobby. By the same token, most actors in this town have made the decision film and television is where they plan to make money, which leaves theatre as the sandbox in which to play and experiment. Personally, I would like it if “The Industry,” the city and even some actors would take theatre more seriously but, practically, I don’t see that happening very soon.

How much do the unions work/plan together?

SDC: In New York within the Broadway community quite a bit. Following 911 an organization, Coalition of Broadway Unions and Guilds (CoBUG), was formed and continues to be active today.

USA: We have different artists whom we, as different unions and guilds, represent; therefore we have very little interaction accept in circumstance where we might discuss (i.e.) the specificity of certain terms and conditions for a given project. Safety and health concerns for artists are primary factors for discussion between unions and guilds in regard to given productions. (See below for additional reference to health and safety issues.)

LMDA: LMDA doesn’t have an active formal relationship with the other guilds and unions.

Dramatists: The Guild has been involved in discussions with other unions and guilds over various issues. Recently, there has been a lot of work with SDC regarding the issue of director’s copyright as indicated in the panel discussion. It all depends on the issues involved.

AEA: Although we all work in theatre, our scope is limited to the concerns of our membership. You can see what matters to actors in rehearsal is very different from what concerns playwrights trying to get their work produced. Certainly we find much we can agree on and events we can collaborate on but there’s little regular contact with the unions.  We stay appraised of each other’s problems and concerns with the producers as much as possible and, of course, we are as supportive as we can be in case of a strike or work stoppage.

Are any unions/guilds discussing or considering discussing mergers with each other?

SDC: No generally.  Within the entertainment industry -particularly the live theatre - there are specific constituents we each serve and where overlap exists there was cooperation a long time ago such as USA - both scenic artists and designers.

AEA: Equity is not currently having merger negotiations with any other union. In the past we have merged with Chorus Equity and the Hebrew Actors Union. The most likely mergers would be with AGMA and AGVA as they handle live performances. There were discussions of merger with AGMA 10 or 12 years ago but that was the last time.

What professional development services do you provide to your members?

USA: United Scenic Artists has occasionally offered financial grants to designers wishing to take training classes in areas of interest that would help them to gain additional knowledge (i.e. new graphic programs developed for computers). Our newsletter will often announce positions opened related to those crafts that are represented by USA 829, that are both academic and professional in nature. Also announced, are opportunities for our membership to participate in important design exhibitions. The exhibits and accomplishments of our individual members such as gallery exhibitions of creative work by our Scenic Artist membership are frequently promoted.

Identification and addressing of “Safety Issues” is an integral part of the professional development services to our membership: We are proud to include a paid health and safety expert as a member of our professional local union staff. This individual advises the membership on a variety of health matters concerning that which is expected from employers/venues, members and the various facilities, machinery and commercial products involved in the creation of the professional work represented by USA 829.

AEA: We offer a series of seminars, lectures and workshops throughout the year. These are organized by our committees and vary depending on the people manning those committees. We do a yearly Diversity Awards Celebration in conjunction with AFTRA and SAG. There are also programs funded by Equity and the other unions that are administered through the Actors Fund such as Career Transition for Dancers. We do not offer showcases as the Plan already allows an outlet for that.

Dramatists: The Guild provides a number of programs for members, though most of them take place through the New York office; hopefully, some of them will find their way to Los Angeles via the planned “DG Academy” announced at April’s LA Town Hall. The Guild also provides members with The Dramatist magazine, which frequently contains articles geared to professional development, as well as the Resource Directory, a book containing tons of invaluable information and contacts.

On the local level, ALAP provides a number of professional symposiums and panels each year, as well as opportunities such as the New Works Lab (for plays in the developmental stage) and Reading Festival.

SDC: Full spectrum of member service programs that are issue based and ongoing.

LMDA: Early-career mentorship programs.  Grants for dramaturg residencies and for dramaturgy-driven projects.  Fee waiver for early-career members at our national conference.

Are there any means by which your union/guild helps members find work?

SDC: No

Dramatists: Both the Guild and ALAP publicize submission opportunities, contests and the like.

LMDA: Mainly through relationship building with other people in their profession.

USA: No help with finding jobs for designers for theatre on an individual basis. Theatrical Design is a “one-on-one” type of assignment rather than, “10 stagehands needed for a load-in on Monday.” However, I consider the “minimum three-years of SCMA rates” have helped to make it feasible for an employer/venue to plan ahead to use a USA 829 designer thereby helping both the designer and employers/venues. In the other regions of the United States (given that “USA” is the name of our organization as well as its initials, I can’t refer to our “nation” as “USA” or things get very confusing) where scenic artists, film and television designers and assistants are represented, there are “availability lists” for members to identify themselves as available for work and union provided “staff” to contact those on the lists to send them to the worksite of the requesting employers/venues.

AEA: Equity requires open auditions for Equity members in all of our contracts.  I don’t know of any other union that offers the same kind of open door to its membership.

Are major theatres required to hire a certain percentage of USA members?

USA: Yes, if the employer/venue has negotiated a Collective Bargaining Agreement (CBA) with USA, a certain number of designers must be hired under the Union Security Clause in the specific agreement. This could be all of the designers for a given season or a certain percentage; it depends upon the negotiated terms and conditions of a given agreement.

Can a person be a member of more than one Los Angeles local at a time, for example theatre and film?

USA: A person can belong to more than one Los Angeles IATSE local union but they pay dues to each local union to maintain their status as “a member in good standing.” Of course, a person could belong to more than one “artistic union/guild, (i.e. author, director, designer, actor… a true “Renaissance individual!”).

Are there plans to create a standard author’s agreement for shows at the 99-seat level?

Dramatists: ALAP and the Guild already have standard forms for such shows. Since each agreement is negotiable depending on the people and resources involved, there will be variations. Guild members can access the agreement by writing to the New York office; the ALAP sample contract is available on the ALAP website http://laplaywrights.org/

How does a playwright determine a fair option amount? And is there a typical rate price and time period?

Dramatists: Not sure what the question is aiming for. For a producer to option a play for production? Or for a playwright to option the rights to adapt something like a novel?

Again, since all contracts are negotiable, and depend on what the traffic will bear, any amount depends on the parties involved, how much work is entailed, and so on. An option amount can be as little as one dollar, or can run into the thousands-depending on whether the producer is a friend who has no money who’d like to put it up in a 35-seat theatre or the Nederlander Organization planning to take it to Broadway.

In terms of time, again, it depends on who, what and where. A standard option might be for a year, with an option to renew for another year after that. But you could make it longer or shorter, depending on the difficulty of doing whatever it is you want to do. My sense is, if something can’t be gotten together in two years, chances are it won’t happen-but then again, we’ve all heard of shows that take years to get on, so who’s to say?

What is the difference between “Equity Waver” and “99 Seat Plan”?

AEA: Equity Waiver existed from 1972 through 1988. It allowed theatres of 99 seats or less in Los Angeles County to use union performers without the usual need for a contract. In 1988 Waiver was replaced by the Plan which added rules to what was essentially a completely open door. For some reason, many people still refer to the Plan as Waiver, even people who were not around when the Waiver system actually existed.

Is it possible that a new version of the 99 seat contract could be developed that does somehow include health/pension contributions? Or a new structure that uses an equation that balances compensation against the recouping of initial investments, so producers don’t make money on the back of unpaid actors?

AEA: Health and pension contributions must legally be tied to a salary. The Plan, as a code with a small stipend, will never support health and pension payments. The challenge is to encourage the growth of more contractual work that would include those benefits. The Plan is allowed in sub-100 seat houses because of the near impossibility for producers to make real money on a show. Certainly there have been shows that have managed to make money but the great majority don’t come close to breaking even. If this were to change, then the committee would certainly consider revisions to reflect that change.  Our last revision of the Plan included the first cap on ticket prices.

What are your thoughts about the future of the Los Angeles 99 seat contract?

AEA: This seems awfully broad and so, I’m afraid, will my answer. It seems clear that, due to the specific circumstances that exist in Los Angeles, some form of the Plan will probably always exist here. We have the largest number of actors in the world which essentially means we have the largest number of unemployed actors in the world. The Plan, with all its faults and detractors, remains a viable way for actors to practice their art and attempt a ”job search” by showcasing what they do best.

What is the incentive in LA to join Equity considering how few productions are Equity?

AEA: First of all, there should be no incentive to join a union before one is ready to.  Equity is the smallest of the unions in Los Angeles and has the fewest jobs (the inverse of New York). But that doesn’t mean actors don’t want those jobs. Many people join because they’re hired for an Equity job. Others cross over from other unions because they want to take advantage of the required Equity auditions. Still others use an Equity job and membership to cross over to one of the other unions they may be having trouble joining.

When a theatre hires several members of an original cast (or Broadway and national tour) and the choreographer or assistant director from the original, how can the new “director” of that new production have the right to say they “directed”?

SDC: If the new production is a unique production all its own then the original director does not have the right to claim credit. If however the previous director’s work is used then that director must be credited.

Is the rate sheet you supplied for design only? Does the rate include the designer building the set or hanging/focusing on the lights or building the costumes?

USA: The designer’s contract (coversheet and [if attached] rider) is for the design of the production only. The supplied scma rate sheet addresses the “minimum” rate to be paid to the designer for their “theatrical design” contribution to the production. Any additional work toward the execution of a design can be addressed with the individual designer, and they should be compensated for that work. It should never be expected that a designer will “execute” the designs unless the designer agrees to do so in advance. This “execute your own work” is very much a “summer stock” mentality ( I don’t even know if it still happens there!). It should be noted that the USA agreements specifically state the employer/venue is to be responsible for the execution of the designer’s plans and specifications. “Theatrical design” is our “profession”-not a “hobby.”  HERE’S TO THE CONTINUED GROWTH OF “THE BUSINESS OF SHOW” IN LOS ANGELES!

Compiled by Douglas Clayton and Greta McAnany

Feature Image designed by Greta McAnany