To
kick off 2015, I asked some of my favorite working artists ten
questions. Some background on the artists:
- all of them live on the East Coast, either in New York, New Jersey or Philadelphia
- all of them are actively employed in theatre, classical concert or opera
- some are married and and some are single
- all of them back up their artistic passion with hard work, determination and persistence.
Throughout
this post you'll find photos and links to the websites of many of the artists who
participated (a few chose to remain anonymous). I know each one of
them would appreciate visitors to their websites, so please take the
time to click through. They're an outstanding group of people, who
have taken the time to give remarkably thorough and honest answers . In fact they were so generous
that there's enough material for two posts. So here's Part 1, and
next Friday I'll post Part 2.
1.
How many auditions have you gone to in the past 6 months? In the
past year?
8
auditions. Been working on two other shows though so haven't been
focusing too hard on auditioning.
Theater
-15. Opera- 15
I
haven't been too an audition since June because I was lucky enough to
book two jobs from that back to back, but those jobs are about to
end, so I have three coming up this month. Usually I hit about three
per month if I'm not working.
Probably
about 5-10 but since it's not "audition season" and I
choose to stay local, there are less to go for. I generally audition
less but go after roles/shows that I know I am really right for and
this has seemed to work for me.
 |
| Tara Tagliaferro |
I
haven't been auditioning since June when I found out I got the Sister
Act national tour, but before that I was auditioning and in
callbacks in NY and Philly about once or twice a week while running
How
To Succeed at the Walnut St. Theatre. May was my busiest and I
had the whole running around like a chicken-with-its-head-cut-off
business going on!
Heidi's
Takeaway – Working performers
view auditioning as a part of their job. They stay prepared and
audition as much as possible. They don't wait for the perfect
audition. They do as many as they can when their work commitments
are light because they know how difficult it can be to find the time
to audition when they are in a show.
2. Union or non-union?
I am non-union, but am at must-join with Actor's Equity and planning to take my card at the end of my Sister Act contract. I was supposed to become AEA (Actor's Equity of America) with How To Succeed, but decided the Sister Act opportunity was worth the delay!
2. Union or non-union?
I am non-union, but am at must-join with Actor's Equity and planning to take my card at the end of my Sister Act contract. I was supposed to become AEA (Actor's Equity of America) with How To Succeed, but decided the Sister Act opportunity was worth the delay!
Non until
the right project comes along. Definitely eager and ready though.
Union.
Non.
Non-union.
I'm Equity
so all the theater auditions I go to are union. My opera
auditions I get through my manager. In general, the opera union (AGMA - American Guild of Musical Artists) is all but non-existent so it's not that big of an issue.
3. Thoughts on that?
[In
the union] it's a lot harder to get jobs but the pay is so much
better. I think it's better to do a couple non-union jobs at union
theatres, to get to know people and gain experience, before taking
your card. But it's different for everyone.
I
believe I will be taking my card in June. I will probably work less,
but I believe I'm ready to take the plunge. Eventually, if one is to
make a real living as an actor, he/she has to be in the union. It
will mean less work at first, but I'm ready to make a decent living
when I do get the job.
 |
| Owen Pelesh |
I
think joining AEA is different for everyone and its tricky
these days with our economy and seemingly less work at the coveted
production contract level. I've taken my time joining since I
am generally use to playing fun "Mom" types and/or
character roles that I'm still a little young for. For me, it
hasn't been about the money so far as much as its been about the work
and the relationships/collaborations. I am though pretty lucky
to say most of my non-union gigs have paid decently, been majority on
Broadway national tours or at Equity houses, and have been stepping
stones disguised as marvelous experiences where I've grown leaps and
bounds. But now after many summers working in stock while in
college and over 4 years since my college graduation pounding the
pavement and beginning my professional career, I feel beyond ready to
join. I feel like I have the credentials and confidence
now and am especially excited for the financial shift and level of
caliber!
I
think it depends mainly on location, set of skills, experience in the
field and what kind of work you're interested in taking. Ex: as a
young, musical theatre performer who also does classics/straight
plays/physical theatre, with decent regional credits, based in
Philadelphia, I feel its not as hard getting work as non-union, and
getting paid enough. If I were musical theatre only, in NY, it would
be a totally different story and I would have probably joined at
least a year or two ago.
Non
is great while building a body of work but eventually you need to
join the union if you want to be taken seriously by major casting
directors. Plus speaking as someone who has spent a lot of time in
both union and non-union shows....there is a very real difference in
the way your time and talent are appreciated and taken care of. All
of the non-union gigs I have done the producers will take advantage
of you whether they mean to on purpose or not.
Heidi's
Takeaway: There is work
available on both the union and non-union levels. Being a union member does not guarantee work and is not for every performer. You
need to consider your personal situation. I recommend discussing
this decision with people who know the business and know how you fit
into the business.
4.
Do you make enough money from your performing to live?
No.
I have to supplement with other jobs. It is not always easy
performing 5 - 8 shows a week AND working a day job but you do it
because you love it and it's the life you want.
I
could (barely), but I have another job. I have pretty cheap rent
which is great but if I were to just live off performing, it would
require lots of planning and discipline.
I
think so few people in the musical theatre world actually make their
entire living off of just performing. Even being on Broadway
doesn't mean financial stability since shows can close fairly
abruptly (over 2000 musicals since Broadway's existence have closed
after 200 performances and a near 1000 after 100). Sadly, there
is no tenure for actors on the Great White Way- most have got to find
other outlets to stay afloat (which I'll get to in answer 5!).
I am
surviving, but live pretty simply. And I'm only supporting
myself- my current financial situation would be extremely
difficult if I didn't have support from my amazing parents or [had]
a family of my own. I currently am packed up in boxes in my
parent's house to avoid rent while on the road and am on a budget so
I can save enough to move to NY in June. I've got to be smart
with my money. Voice lessons over manicures, dance classes over
a night at the bar, new head shots over a mini-vacation, yoga
over cable television- most of my money goes right back into my
training and my mental/physical health. I also take advantage
of Groupons, sales, payment plans, low income housing
lotteries, The Actors Fund - anything I can get my hands on
that will save me a buck. I eventually want to have more- I
dream of getting married and kids of my own some day, which is why
joining AEA is that necessary move.
Yes.
That being said, I'm lucky enough to have enough non-union work right
now to get by. Barely. I have been working for over 20 weeks straight
at two different theatres, and have less in my savings than I did
when I left for the jobs.
Nope,
and honestly, I do not know anyone who does. A colleague of mine
(baritone) was recently featured in Opera News, and is working
all the time, but STILL has a catering job for between gigs. This
country is going through a cultural dust bowl and everyone is
suffering. Even people who appear to make a living off of
performing are usually partnered with someone very supportive who has
a normal job, or they teach voice and just don't advertise about it.
It's very bizarre.
HEIDI'S
TAKEAWAY: Most working artists
on every level, especially in today's economic and cultural climate,
are not making their complete income from performing. This has
nothing to do with talent, desire, or even luck. It has everything
to do with the realities of the modern business. The sooner an
artist embraces this fact, the sooner they can get to work.
I
teach! I have small coaching studio based out of South
Philadelphia and am connected with the Walnut St. Theatre and
Broadway Connections as a teaching artist. I have also
in the past directed, choreographed, and/or taught at camps,
colleges, religious organizations, and schools- a slew of odd jobs
that put money in the bank, but have also seriously kept my spirit
happy and engaged creatively. I especially love working with
aspiring young performers looking to become professionals and adults
who work as doctors, lawyers, etc that find singing a ditty to
be a refreshing escape. It gives me such a high to share all
I've learned, learns my students' very unique stories, and see the
sparks go off inside them when they connect who they are to their
material. I am hoping to turn my little coaching business into
something bigger in the future- fingers crossed!
The
list of things I don't do would be shorter. dog walking, training,
boarding. household chores for people like fixing lights and
cleaning gutters, I work as a land surveyor on the weekends when I'm
not in shows. I teach music lessons and guitar lessons to children.
etc. etc.
 |
| Adam Kemmerer |
I nanny. Initially I was teaching, but realized I liked nannying
even more. For me, theres something beautifully intimate about being
in someone's home, caring for their little ones. And like teaching,
I'm getting to spend time with children, but it's all the more
rewarding giving my full attention to one or two, instead of
splitting it among 10-15.
I work
from home, doing online transcription editing.
I
play piano on the side, though mostly when I'm in New York. While in
New York I was waiting tables. Here in Philly I just started
delivering groceries for Instacart during the day.
I
teach voice out of my home in New Jersey (which I really enjoy) and
have a church job. I feel really lucky to not be temping anymore and
that all my income is all somehow music related.
HEIDI'S
TAKEAWAY: It is crucial for
artists to find a flexible parallel career – a way to create more
income to sustain them when their art is not paying the bills.
You'll probably be happier if this career fulfills your soul as well
as your bank account. Artists have a reputation as being educated
and extremely disciplined, so many non-creative fields are willing to
consider the unusual demands of a performing career.
So, there you have it. Real information from working artists. That's what we're all about here at Creatavita.
So, there you have it. Real information from working artists. That's what we're all about here at Creatavita.
Shameless Advertising: Tickets are going fast for my upcoming cabaret on the Coffee House Series at the Darlington Arts Center. Upcoming as on Saturday, January 17 at 8:00. Why don't you click on over and buy your tickets now so you're guaranteed a seat? See you there!
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