Wednesday, May 10, 2006

League of Independent Producers draft mission statement

Folks,

Here's a first draft. Cribbed a lot of it from existing leagues, trying to balance between a broad, inclusive definition and a clearly defined membership criteria.

The League of Independent Producers mission is to foster theatrical productions produced in 99 seat theatres and promote the common interest of its membership- theatre owners and operators, producers and presenters. The League assists in the voluntary exchange of information among its members, serves as the collective voice of its membership, works to increase interest in Off-Off or independent theatre throughout North America, strives to foster a sense of community among all members, and develops programs addressing the unique needs of its members.

In its first year, the League will seek to reform the current Equity Showcase Code, commission and execute a comprehensive economic impact analysis of the New York independent theatre industry and work with the city and state government to address the affordable rehearsal and performance space crisis.

A couple of quick points:

1. I have no pride of authorship on this thing, please whack away with suggestions.
2. The purpose of this first draft is to start a conversation. I'd love to hear and discuss what other people might like this proposed organization to look like and do, or indeed if such an organization is a good idea.
3. For reasons I've put down below, in the Towards a Definition post, I've purposely avoided any reference to a "downtown" or indie aesthetic. I've also avoided any adjectives like "adventurous" or "cutting-edge" or all the rest of the blather we put in our press releases. The individual work will determine all that, this is just a place where the work can be supported.
4. The stated goals of reforming the Showcase Code and the rest are just what Nancy and Paul and I came up with. I like them, but again, please whack away.

I'd like to have a good, spirited cyber-discussion on this for a couple of weeks with the goal of an agreed-upon mission statement by, say, June 1. Then sometime in July or August all interested parties can sit down and yell at each other somewhere.

Let's see if we can build something.

126 comments:

Ian W. Hill said...

Well, as of now, I dig. I dig greatly.

I'm sure others will have far more productive suggestions, but at least for a start, you've hit the nail on the head for what is needed at least.

Thanks!

John said...

All right. One great dig registered.

The Playgoer said...

Very curious what your specific thoughts on the Showcase code are, John. What's getting in the way of "Indie" producers and actors the most?

George Hunka said...

Well, a few things ...

First of all, under the general provisions of the Showcase Code there are a few rather stifling clauses. Section 4(C) for example prohibits any "televising, broadcasting, visual and/or sound recording, cast album recording, motion picture filming, video taping or other mechanical or electronic
reproduction, in whole or in part, of any Code production." This is a killer for some careers: if you're applying for a grant as a playwright, some organizations don't want to see scripts, but taped video versions of plays -- impossible under the code. Not to mention inclusion on audition reels for performers and directors putting together video portfolios of their work. At the very least, this clause should be waived if Equity members of the cast agree to it.

Second, clause 4(G) indicates, "A Showcase Code production may not be re-mounted under the Showcase Code
within a 12-month period," which forces producers either to forego further showcase development of a particular production or to sit on their hands until the 12-month ban is up; a show that has been retooled should not have to wait a year before reopening. And it can't stay open for long anyway. Clause 1 of the code limits productions to a maximum of sixteen performances within a month; even if the showcase budget maximum of $20,000 is spent, you'll never even begin to make your money back that way.

John said...

George has some very good and specific points. For me, the over-all problem is that the code doesn't give a show enough time to grow. As Bargetto schooled me, the LA code limits performances to 80. 80. As opposed to our 16. A longer run, with actors being paid a little bit, increasing as the weeks go by, makes such simple intuitive sense to me. The producer is never going to get rich, but the chance of breaking even becomes semi-realistic. And much, much more importantly, the actors get to run a show, the playwright gets to see his or her show develop and all of the artists have a chance to show their work for longer than four weeks. Lousy shows will close like they always do, but the solid ones get a shot. So for me it's about running a show for a few months rather than four weeks.

It's not a bad code, it's just anachronistic. The gap between Off and Off-Off wasn't as enormous back then. Now, the code simply doesn't reflect the reality on the ground.

Also, the reformation of the code is just one possible thing the League could tackle. In general terms, do people think an orgaqnization like this could work in our scrappy, fractious community?

John said...
This comment has been removed by a blog administrator.
Colin @ Reverie said...

Amen to tackling the showcase code, but I think we need to go deeper. In order to not only make things better under the code, but to create a system that is flexible and responds to the ever-changing realities of producing indie/off-off 99 seat theatre in NYC, we need to change Equity.

For a community that represents 500 companies, hundreds more one-off productions and thousands of actors of every stripe, we need more than just one Equity rep dealing with showcases, hiding behind a mysterious executive council. We need an engaged department at Equity who gets out in the world to see not only the reality of producing indie theatre, but the equally important reality of trying to make a career (not necessarily a living) at being an actor.

Anonymous said...

Kim @ Reverie says...

At the risk of annoying my colleague above in particular, I'm a little curious about precisely what kinds of changes folks wish to make to the Showcase code. More importantly, you wish to go to Equity to change the code -- I trust you will also be consulting with Equity actors as well themselves, yes?

I actually *am* a member of Equity, as a stage manager, and in my experience, while it has its flaws, I have found it to be an organization that does step up for its members. So talk of changing the code -- and Equity itself -- have me a little nervous. I do respect the difficulties producers and playwrights have under the code -- and actors and stage managers have their own difficulties -- but changing Equity ITSELF is to me an alarming proposition, to be honest.

Then again, I'm approaching the question from a very different perspective than are those who have weighed in so far; producers and playwrights discussing the changing of the Equity code to me sounds like the Board Members and Stockholders discussing the rewriting of the Employee handbook for the company where I do the day-to-day work.

George Hunka said...

Of course, Kim, and as John has pointed out here and elsewhere this is not an anti-union or an anti-Equity diatribe at all. I've heard similar complaints about the code from Equity members, and nobody wants to shut anybody out from the discussion.

And I wouldn't want to rewrite anybody's Employee Handbook. Quel horreur.

Anonymous said...

George: sorry, I didn't mean to sound like I was accusing anyone of being anti-union; far from it. Hell, I've grumbled about Equity myself sometimes.

I'm just trying to get a more detailed idea precisely WHAT changes people wish to make to the code and to Equity itself; so far I've just seen lengthening the run and allowing for show taping, and the code as it exists, to my understanding, already has a means in which you may negotiate for both circumstances. So I'm a little confused.

Granted, though, while I know that such means exist, I do not as such know exactly what the process of negotiating these things entails for producers, which could be why it sounds to me like there's a call to reinvent the wheel here. I'm just asking for more details on what's broke to see whether changing the whole institution is necessary, or whether simply putting pressure on Equity to better administrate the already-existing code may be all it takes.

Kim @ Reverie

Bob Jude said...

There are definitely things that can be improved about the showcase code... expanding the number of performances is a great idea for one.

I also resonate to the words "change Equity" and desperately want people to get the right impression of what they mean.

Yes, we should change Equity.

The spirit of the words "change Equity" is actually milder and more harmonious than the scary aspect - mostly to its membership - of what those words imply.

We are not talking here about restoring any part of the pre-Equity model, where theatrical producers "exploited" performers, whatever that might have meant.

However, the current structure of much of the Equity code satisfies the needs of a theatrical production model that is dead. Dead as a doornail and dead as a dormouse.

Broadway producers no longer develop plays for many weeks at a loss in out of town tryouts. They no longer crank out tens of new plays a year in a factory format.

And the quantities have changed. Rather than a Broadway that produces hundreds of new plays a year, we have a "first-class" industry that brings out ten to twenty new plays and/or revivals of musicals, a few London transfers, and the like, a "mid-level" industry composed almost completely of not-for-profits, and a "low-level" factory floor that cranks out over a thousand showcases a year. These showcases and other production are what feeds the "higher" levels.

And there are about twenty other things that no longer happen. And the Equity code is still out there, trying to serve a dead economic model.

Face it. Showcases ARE "the theatre" in NYC. Disappointments about talented folks slopping around in horseshit notwithstanding, the showcase code doesn't really help us foster this.

What else?

Well, Equity does change. Every couple years, they get together to jigger the code. A line here, a word there. There's always a vote. That's good.

So what's the problem?

Well, OOB producers are not truly among the parties invited to the table when those Equity changes are discussed, voted, agreed on. Broadway producers are there. Off-Broadway producers are there. Regional producers are there. Touring producers are there. Where are the OOB producers, the factory floor? They are not there. We are the workers in the industrial model and like the workers in any industrial model, we are too poor and too numerous to have our needs considered.

But since we represent the factory floor that makes the material that feeds into nearly every show that is able to stand up and plug into the "first class" part of the economic model,, you could say the interests of the OOB producer and of the Equity member are actually and essentially intertwined. We make the shows that employ them, eventually.

Sorry if my thoughts wander a bit, but wanted you to know we support this.

Bob Jude Ferrante

IdWizard said...

John - I think you are absoutely on the ball with trying to create this thing. I have one comment after reading all the other excellent ideas here.

If we are going to form an independent organization - why not do it for real? Don't form an organization to lobby equity - just make a new equity - with our own rules, and let anyone who wants to join, join.

The reason why I say this is that I have been a part of way too many discussions, manifestos and groups trying to change equity - and not always in the nicest of ways. But it won't work. Someone here said it - I think Kim - but the only people equity istens to are equity members - they will never listen to the producers. It will take another decade to get it changed the right way. Fuck it. Start our own.

Not sure if this is where you plan to go with the League, but I think it is the right direction. Call it the Independent Actors Association, or whatever, and start doing shows.

I don't apply for showcase status anymore. It completely limits me and my actors. I just do my shows. My shows are free, so I don't get anyone coming after me cause I'm not abusing my actors, far from it - I'm giving them a chance to work the way they want to work. They joined equity a long tme ago and now are limited by it. I say - forget equity and trying to change it - let them have it - and start our own. That is the only way I see equity warming up to any sort of "change".

zmannheimer said...

John - I think you are absoutely on the ball with trying to create this thing. I have one comment after reading all the other excellent ideas here.

If we are going to form an independent organization - why not do it for real? Don't form an organization to lobby equity - just make a new equity - with our own rules, and let anyone who wants to join, join.

The reason why I say this is that I have been a part of way too many discussions, manifestos and groups trying to change equity - and not always in the nicest of ways. But it won't work. Someone here said it - I think Kim - but the only people equity istens to are equity members - they will never listen to the producers. It will take another decade to get it changed the right way. Fuck it. Start our own.

Not sure if this is where you plan to go with the League, but I think it is the right direction. Call it the Independent Actors Association, or whatever, and start doing shows.

I don't apply for showcase status anymore. It completely limits me and my actors. I just do my shows. My shows are free, so I don't get anyone coming after me cause I'm not abusing my actors, far from it - I'm giving them a chance to work the way they want to work. They joined equity a long tme ago and now are limited by it. I say - forget equity and trying to change it - let them have it - and start our own. That is the only way I see equity warming up to any sort of "change".

IdWizard said...

sorry for publisng twice - just joined and hit the wrong button...

John said...

I'm cutting out for the weekend and may not be able to post until Monday, but I want to echo and support what Bob said. The reality on the ground is that artists and producers are often the same people. I've done a lot of producing over the last fifteen years, but practically every one of them I wrote and/or directed. So I'm coming at this whole issue as someone who wants my art and my colleagues art to have a better chance at thriving. If there were a way to not keep going broke down here, that would be great, but that's secondary. I'm going to keep doing this stuff anyway, but Lord it would be good if it weren't so hard.

Talk more on Monday.

John said...

Had time to look at my last post, but no time to clean it up. "...to not keep going broke..."? Now, that's some interesting sentence structure going on there.

Anonymous said...

This LIP thing is one of the best ideas John's had in a week or so. Couple of thoughts... the AEA showcase code is just that, a code for showcases, tryouts, not legit runs, because "legit" runs are commercial runs, and commercial runs begin at the Off-Broadway level. The current logic is... one puts up an AEA showcase, and hopes it gets "picked up." The problem is, a lot of the best work produced in NYC under the AEA showcase code will never, and is not intended to, function commercially at the Off-Broadway level. Sounds like Scrappy is proposing getting AE to recognize that there is a third tier market in NYC, where productions are not primarily commercially motivated, and/or where the economics are wholly different from those in Off-Broadway and Broadway productions. I think that's a great idea. Don't reform the AEA showcase code... negotiate an entirely new contract based on the economics of independent theater in NYC. Reconceive "independent theater" in NYC as a territory in its own right, a niche market, if you will, where low-budget productions are not auditions for higher-budget productions, but live or die on their own terms.
Cheers,
CJ Hopkins

Parallel Exit said...

John, I echo the statements of support on this - and add a question. How will this league work alongside and/or differentiate itself from A.R.T./New York (of which my company and numerous indie companies are already a member)?

To clarify, here's their mission, taken from their website:
The Alliance of Resident Theatres/New York (A.R.T./New York) is the service organization for the nation's largest, most artistically influential, and most culturally diverse theatre community: Off Broadway. Founded in 1972, A.R.T./New York currently serves close to 400 not-for-profit theatres and related organizations. An advocate for the arts at the state and local levels; a source of research and analysis on the Off Broadway industry; and a provider of cash-flow loans, low-cost liability insurance, and other money-saving services.

I agree that there is a need for an organization of 99-seat theatre companies, and so I guess I want to know if a dialogue with A.R.T./New York would be necessary and helpful in any way. Thoughts?

Yours in solidarity,
Mark Lonergan

Kevin said...

An idea: Allow Code producers to charge more than $15/19 (now $18/20) and give half or even all of that extra money to the AEA members.

George Hunka said...

I can understand Equity's alleged reluctance to listen to people from outside the membership: they do represent their members, after all, their well-being has to be paramount. And it continues to be ironic that in most showcase productions, actors are the last to be paid, after technicians, designers, musicians, directors and even landlords. Especially landlords. (Playwrights who produce their own work usually see even less financial return from showcases than the actors do, so I sympathize!) And whatever new organization emerges from this dialogue needs to be legitimate to the performers participating in it -- I don't want to give up Equity actors. So we still need to work with Equity, not against them, or apart from them.

My question is how different this ILP will be from something like Community Dish. If it is a lobbying and service organization a la TCG or A.R.T./New York, the definition is clear enough -- both TCG and A.R.T. serve both 99- and 99+ seat theaters, whereas ILP would serve ONLY those below 100 seats. It may be worthwhile to think of it as a slightly more formal organization, and that means some negligible membership dues to support at least a part-time staff, instead of relying on volunteer labor -- which is passionate. But passion doesn't pay bills.

Freeman said...

I think it's about baby steps. First is to identify the need for change and articulate it in a public way. There has been grumbling for years about how the Showcase code hurts word of mouth and stops the momentum of most shows very early in their formation. Equity actors themselves often find themselves in a place of wanting to continue in a certain performance, but unwilling to go against the union (rightly), but with full knowledge that the company can't afford to move to an "Off-Broadway" price tag for them.

I think the focus should be on providing actors with more choice in how they want to conduct their careers. Right now, actors that go beyond 16 performances in a certain role immediately become two expensive for a company that is charging 15-20 dollars a ticket in a venue that is below 99 seats.

As for the producers and their dilemma: perhaps more tiers of production would be the answer. Right now, it's too much money, or 16 performances with very little in between. Legitimate options to go beyond a one-month show, without suddenly becoming financially untenable.

Anonymous said...

CJ:

"Don't reform the AEA showcase code... negotiate an entirely new contract based on the economics of independent theater in NYC."

You may very well be on to something.

Kim @ Reverie

John said...

Agreeing with George. I imagine LIP to work like a smaller ART/NY, focusing on 99 seat spaces and a more formal, organized Dish. When does the Dish meet? They are the most obvious, invested and committed organization in this arena I'm aware of.

Anonymous said...

Sorry for the late response to this conversation as I have been overwhelmed in the producing arena lately...

I think that the League is a fabu idea and I would totally jump aboard! As for all of the back and forthe in regards to Equity, I have had this same conversation a few times with other OOB producers, and what I have found is the two things:

1) In order to really do "collective bargaining" with AEA there needs to be both a carrot and a stick, and right now our community has neither in the face of the Showcase code in the eyes of AEA. What are we offering to AEA and their members (most importantly couched in $$ type figures)? And what would be lost if we as a community walked away from the Showcase code in AEA's opinion? I think that once we can begin to concretely answer these questions we have a position to approach AEA from to begin to bargain.

2) And this is what I think is most important--The Showcase Code (and AEA in general) has not caught up to the technology of theatre in 2006. My largest complaint about the code (after the ridiculous # of comps we must green light) is that it does not allow producers to stretch artistically into the new technology available to them due to age old agreements with other unions (SAG, AFTRA). I hate that I cannot use live feed video or filmed sequences in my productions because I am prohibited by AEA to do so. I hate that I must limit my artists to these tight parameters.

Just my two cents for the moment! I am totally down to continue to be a part of this conversation! Thanks for kicking it off John!
--Abby

Abby Marcus
Vampire Cowboys

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