The Stage: There’s an ongoing debate around free (or poorly paid) labour models in the theatre, whether it be armies of unpaid interns working behind-the-scenes, amongst actors working for so-called profit-share on the fringe which basically invariably means working for nothing at all, or indeed amongst theatre journalists, filing reviews and other copy to myriad theatre websites, for ‘experience’ or just the bonus of getting free tickets for shows while holding down regular day jobs as accountants and the like.
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In the past five years the number of paid positions at summer stocks has declined sharply and the number of unpaid internships has skyrocketed. I think this is in part due to the number of people who feel it is the only way to make meaningful connections in the industry. I think that it is also a by-product of the fact that with the multitude of closures in regional theatres the unpaid internships have trickled down to those starting off in college and after college where those might have been a freshman in college a decade ago. Even low paid internships in many instances are not worth it and some places even make you pay to work for them which is an absurd practice. It also seems to me that this is a sign of having too many theatre programs for too few salaried positions. We have a glut of under or not qualified people because the training in many programs is sub par. Unpaid internships should be left as a substitute for a semester of school for people who are truly deserving not for people who are willing and content to be free labor. It sets a bad precedent for getting rid of paid labor for unpaid. Why would a company hire a lower level employee when they could get one for free?
This article brings up some interesting points. As a college freshman, I am just beginning to think about what sort of jobs I will want after graduating from this program. For the most part, I think that I will only work at places that pay a reasonable wage. While this is said to be "unheard of" in the theatre industry, I believe that a Carnegie Mellon education should be able to lead to successful careers, as long as, of course, the student puts in the proper amount of work and effort. As for internships, I think it is okay to work essentially "for free" as long as you are getting something out of it. Internships are meant for learning on the job and for making connections. To me, on-hand learning and making connections is more important right NOW than money. However, when I am perhaps a junior or a senior, I may want to start seeking out internships or apprenticeships which are paid. In my career, I will only take jobs if I believe them to be worth my time (this includes both wage and the promise of the production.)
As Jess and Luke have both mentioned, we practically have to be willing to work for nothing or for next-to-nothing in order to get experience in certain parts of the industry right now. I took on a staff position at a summer stock company this past summer and was paid very poorly considering the terrible hours I worked and the number of weeks for which I worked those terrible hours. After having experienced this (and recently realizing that I'm living up to the "poor college student" stereotype more than ever before), I have decided that my work is more valuable than that. I realize that I won't be able to be too picky about jobs or compensation for quite sometime until after I graduate and have proven myself, but I still think that I am worth more than I was given this summer and should not concede to such poor treatment again. Like the actors mentioned in this article, I need to make that change. This article points out that audience members need to change, too, but that can only happen if the word gets out to them by way of the actors and other employees who are being treated unfairly! Once the audience members get that information, though, a lot of them will have to take action and speak out about why they're taking those actions in order to truly make their point. This is obviously a long road that has to be traveled down, but I am glad that people such as Mark Shenton, this article's author, are beginning to have these important conversations.
I think the author of the article is missing a very important point. The employees of these theaters who work for free are agreeing to work for free when they sign their contracts. If someone is agreeing to work for a company, then they understand what they're getting themselves into. I, too, have worked for a very small wage, but what I gained in experience was priceless. Being young and just starting out in my career, I need to know which sacrifices are worth it and which are not. Giving up a good paycheck in order to work with broadway designers and actors was a choice I made, and something I would not change if I could do it again. If these actors who are working for free are getting something else out of it, namely the reputation and the network that comes with working at that particular theater, that is their decision to make. What right does anyone have to comment on and judge another person's career choice? If the audience doesn't agree with the theater not paying it's actors they have every right to not attend that theater. Of course, they may miss out on amazing performances, and could end up missing out on upcoming designers and actors who could be the next generation of theater.
I've never personally been in a position where I've been able to work for free [unless you count school, in which case I'm paying someone else to work]. My poor family supported me to no end in psychological & verbal support, but no one could spare any moneys. This was fine with me. I know I'm not the only one in this situation. What it meant for my career is that I could rarely if ever take a position that didn't pay me in return for my effort.
I know I missed out on exciting opportunities because of that; but it also meant that I've been able to pay my rent and never have to go on unemployment. On the other hand, on those occasions when I have worked all night through or put in 60+ hours/wk, it meant I was getting paid for that time.
But Jess has a point. If you're willing [and able] to work for free, and you know it up front when you sign that contract, why shouldn't you? It may seem unfair to the people like me that want to work in my chosen field and be fairly paid for my time/effort/expertise [such as it is] but I think the reality is that if I'm not willing to do something for free I don't have a right to stop someone else who is.
I agree with Jess. Somehow the tone of the article seemed to suggest that the people who work for free in theatre are being bullied into it just because they want to work and need the experience. It is their choice at the end of the day. They don't have to do it and if the audiences don't agree with it, don't attend. The thing is that this is the norm no matter what type of work you do. An accounting intern usually gets paid near to nothing. Some marketing interns get paid nothing. Theatre is no different. Do I wish that I could be paid for every job or internship that I have done? YES! Of course! Who wouldn't want to be paid. However as we know in society sometimes you have to do things for free or for little pay for great rewards. After that stage in one's life, as Shannon mentioned, then you make a conscious decision to only accept or apply for paying jobs at a certain level. You can't blame the theaters for not being able to pay people. We are in difficult economic times, it is the only financially smart thing for any organisation to do.
I very much agree with Jess and Jamila, but I think the author acknowledgesin an indirect way their point of employees forfeiting their right to complain . He says that these actors do it for the networking and for the desire to do art. I think, in reality, that only the first truly applies. These actors are professionals, and somehow they still survive while working at these theaters, despite their complaining. If they did not somehow value being there, they would not have made the choice to do so. There is no fault in the theater here- just in the actors for agreeing to join up. The author has it right though- if they wish to change this it would take a movement by both actors and audience to change this stagnation.
I don't necessarily have a problem with working for free. If it's a show I really want to do with people I really want to work with, and I'm willing to make the sacrifices to get an incredible experience, then I will absolutely work for free/low wages. If I make the choice, I can't complain about it later. But I do have a bit more of an issue of for-profit or larger-budget theatres that either don't pay or don't pay enough to lower level employees. If you have the budget to pay reasonable wages, and need the personnel, why did you instead choose to use that money on an expensive set piece or to hire an out-of-town actor when a local, talented actor would have done the job just as well? For me, the issue is more about allocation of money and priorities. If you spend money on something other than paying me, you're saying that that is more important than me. And honestly, it might be. But I'd rather not know.
To elaborate on what Jake mentioned - there isnt a reason someone shouldnt work for free if they are willing and able. sometimes the benefits of being free labor far outweigh being contracted in. I know my summer employment opportunities are limited because i have to make x dollars, but the learning experiences of some of the lower waged jobs would be really beneficial. If someone asked me to work for madonna for a night for free, i would agree if i could - because the experience and knowledge i would gain is invaluable. the positions the article discusses give you the knowledge to ascend up the ladder and succeed. ---now that being said i agree with jess. an education here should give you an adequate kick start in the working world. thats why we go here and get our asses kicked. to do what we love and get paid for it for the rest of our lives.
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