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Only one conversation dominates the Los Angeles theatre scene these days: Actors Equity’s recent changes to its Rules and Agreements with regard to Los Angeles theatre, particularly the 99-Seat theatres which are the predominant creative outlet for so many LA playwrights and stage actors. While a Google search will provide a wide range of reports and opinions on the subject, I wanted to get first-hand information, and Thomas Carpenter, Assistant Executive Director and General Counsel at Actors Equity, was kind enough to oblige.

Larry Dean Harris:  Our readers are playwrights who may be interested in doing a reading, a workshop, a production. Where is the best source for them to turn for answers?

Thomas Carpenter:  Some of the documents are available in the document library on our public website: ActorsEquity.org. Two of the new codes are already up there: the Transition 99-Seat Code and the 50-Seat Showcase Code.

The easiest thing to do is to call the local Equity office. In this case, our LA office in North Hollywood. If they describe what they’re trying to do, it’ll be a lot easier, I think, to have an interactive conversation about what the options are.

LDH:  Is the 50-Seat Showcase Code similar to what is used in New York?

TC:  There are a few changes, but the terms are pretty similar. The Code is intended to deal with micro-budget productions: $20,000 or less.

Productions in smaller theatres 50 seats or fewer. There is a limitation on the number of performances: sixteen. Basically, the Code says that actors can work without the requirements of an Equity Contract. If it (the show) is successful and wanted to extend beyond sixteen performances or move to a larger house with more than 50 seats, at that point the producer can call the Equity office and find the appropriate contracts so that they can continue.

With playwrights, there’s a big issue with world premieres. You don’t necessarily want to give up your “world premiere” to a small production. So I think some playwrights are going to be excited about the 50-Seat Showcase Code. What are the parameters with Equity actors within the 50-Seat Showcase Code?

The Code is really an internal membership rule. We’re really not trying to regulate producers through our membership rules. As long as the production meets all these requirements, then you are permitted to work without a contract. It is silent as to compensation, although it does require reimbursement of expenses. Under this Code, Equity members are permitted to work up to 128 hours of rehearsal over a maximum of five consecutive weeks, up to sixteen performances within five consecutive weeks and only one two-performance day per week.

LDH:  There are no restrictions regarding the type of work, correct?

TC:  The only restriction is that it may not be a TYA (Theatre for Young Audiences) production. You can do a play, a musical, a revival, something original, something fully improvised. Devised work, immersive theatre, whatever you like.

LDH:  Let’s talk about the Membership Company Rule. How does Equity define a “membership company?”

TC:  There are membership companies that exist outside of Los Angeles County in other parts of the world, and so the Membership Company Rules does not apply to members working with those membership companies. So the definition of a Membership Company within the Rule is defined as an entity that is not organized to make a profit for the company or its members, but operates primarily for the mutual benefit of the members. It’s a creative ensemble: the actors, stage managers, designers and other theatre artists for the purpose of regularly producing theatrical productions in 99-seat venues or smaller.

The Membership Company Rule is only available for members to collaborate with membership companies if the membership company was in existence before February 6, 2015, and if they had previously produced under the legacy 99-seat Theatre Plan (the old plan that is no longer in existence). They also needed to have registered with us prior to April 1 of this year, so that we knew they were out there as a membership company that they were intending to produce.

LDH:  What would you say to encourage playwrights who have written a new play and want great actors to develop that play?

TC:  I would say that our members want to encourage the development of new work, so that they can participate in this project. Not just in Los Angeles, but around the country. So we would love to have a conversation about how Equity members can participate in the development process. By all means, call the offices and talk to the business reps, and we’ll try to figure out ways to do it.

ldharris@dramatistsguild.com