In 2016, Hamilton creator and star Lin-Manuel Miranda took home $6 million from his Broadway sensation. Most actors on Broadway take home considerably less, starting at a little over $2,000 a week. While that would be a great salary for a year-round job, actors live with the risk of the show closing and leaving them unemployed.
Tip
Broadway actors working on union shows earn slightly more than $2,000 a week. There are multiple extra weekly payments for special cases, for instance if they move sets, they understudy the lead or they take a role with physical risk. All these will add to the weekly salary.
Broadway and Unions
Actors' salaries on Broadway are not left up to the whim of individual producers. Although acting is a field where individual talent rules, it's also tightly unionized. A stage actors union called Actors' Equity Association was formed in 1913 to improve the poor conditions actors worked under back then. Those conditions included actors:
- receiving no pay for time spent in rehearsal;
- paying for their own transportation when on tour;
- required to buy their own costumes;
- employed at will, meaning they could be fired at any time, for any reason.
In 1919, actors on Broadway and in Chicago went on a month-long strike with support from theater musicians and stagehands. That established Actors' Equity as a player in the industry and convinced producers to start negotiating. Since then, Broadway has paid actors a set rate, which the union periodically renegotiates.
Joining Equity
If you work as an actor on Broadway, you'll almost certainly need to join Actors' Equity. As a member, you can only work on shows that offer you an Equity contract. If you're not a member, but you're cast in a unionized show, that gives you the immediate opportunity to join.
Once you join, working on a non-unionized show can cost you your Equity membership. Actors' Equity lists shows and production companies on its website that either refuse to negotiate with the union or couldn't reach a deal. Currently, the list includes The SpongeBob Musical, Bandstand the Musical and Escape to Margaritaville.
Actors' Equity allows members to perform without an Equity contract in special cases. For example, Equity actors can perform where they hope to showcase themselves and land future employment. These productions offer no minimum salaries or benefits, and the actor is under no obligation to stay in the role. Among other requirements, a New York showcase can't have more than 99 audience seats.
Equity Contract Categories
Equity contracts aren't one-size-fits-all. The union has three classes of contracts that cover principal actors, chorus members and stage managers. It also has a variety of contracts and terms for different types of performances. Broadway is one category, but there are multiple others.
- Off-Broadway covers theaters outside the Broadway theater district and with less than 500 seats.
- Business theatre and events contracts cover performances at trade shows and conventions.
- The casinoagreement covers shows performed in casinos or hotels.
- Production contracts apply to touring Broadway shows.
- Outdoor drama is used for community-based historical dramas and outdoor spectacles where most of the performers are community residents.
- There are also special cases and rules for theaters in New England, Chicago, New Orleans, Orlando and San Francisco.
There's often more than one contract in a given category. How many depends on factors such as the number of performances and the size of the theater.
Broadway Winners and Losers
Actors' salaries in Equity shows constantly shift. In 2016, a principal earned $1,900 a week. In early 2019, the most recently posted figures, the weekly salary was $2,034.
Salaries are calculated weekly because landing a role doesn't guarantee a year-round gig. A show that runs for less than 100 performances qualifies as a Broadway flop, and some musicals fall far short of that. A 1988 musical adaptation of Stephen King's Carrie closed after five performances.
Some shows that flop upon premiere go on to greater success when they're revived later. That doesn't help original cast members pay their bills.
Broadway Salaries Beyond the Minimum
The $2,034 Broadway actor's salary is a guaranteed weekly minimum. It can go up from there. It's perfectly legit for an actor to negotiate a higher salary based on their talent or star power. There are also smaller salary boosts available to the many actors who aren't superstars.
- A chorus role or specialty number adds $20 per week. Most performers get this extra cash.
- If Actors' Equity finds there's an extraordinary safety risk to the actor, that's another $20 per week. For example, swinging over the stage on a rope or a trapeze would probably qualify.
- If an actor helps move pieces of the set, that's an extra $8 per week.
- Actors in small parts often double as understudies for the major roles. This can add $54.50 to the pay packet, while chorus understudies get $15. "Swing" actors who understudy multiple roles can earn $101.70 extra.
- Musicals will often pay an extra $406.80 per week to one performer to serve as the dance captain. This job requires that person to learn all the choreography and keep the dancers following it. This is especially important when the choreographer goes off to another gig.
- Some shows also use a fight captain to keep fight choreography in line. That's a $75 increase per week.
- If an actor agrees to stay with a show for a year, they earn $80 a week for the first six months, then $40 for the next six months. At the end of the year, if they did stick around, they get an extra $2,600 bonus.
- If the show is nominated for a Tony Award, that would add several hundred dollars to the performers' salaries. They get another salary bump if the show wins.
A Cut Of the Profits
In 2018, 14.37 million people saw Broadway shows, for gross ticket sales of more than $1.8 billion. While most shows do not turn a profit, a few are gold mines for the production company.
Broadway actors' salaries don't usually include profit-sharing, though there are exceptions. After Hamilton became a megahit with revenues in the tens of millions, the actors pushed and won the right to receive a share of the profits. This included a share from future productions of the musical.
Shows In Development
It often takes a long, long time for a show to make it to Broadway. First it tours out of town, starts off-Broadway or takes shape in theater workshops or development labs. Workshops and labs are other Actors' Equity special cases. They aren't money-making ventures, and the shows may never go into production, so the actors' salaries are less.
Workshops compensate actors for the low salaries by offering a percentage of future profits if the show goes into production. The actors in the workshop roles also receive first right of refusal for the same roles in the Broadway version. Development labs used to serve the same function as workshops but without the perks. Actors earned only $1,000 but without profit participation, even if the show went on to become a megahit.
In early 2019, Actors' Equity staged its first strike in decades, stopping actors from working on shows in development. They won development-lab actors the right to participate in a share of the profits once the show earns its costs back. Although some producers complained the lab salary should be enough, lab actors argued their contributions helped make the show a success.
As a seasoned theater industry expert, I bring a wealth of knowledge and firsthand experience to shed light on the intricate world of Broadway actors' salaries and the role of unions in shaping the landscape. Over the years, I have closely followed the dynamics of Broadway, from the struggles of early actors facing harsh conditions to the present-day intricacies of contract negotiations and the financial intricacies of successful productions.
In the realm of Broadway salaries, the article accurately outlines the substantial income gap between headliners like Lin-Manuel Miranda and the majority of actors who earn a starting salary of around $2,000 per week. This figure, while commendable for a week's work, comes with the inherent risk of unemployment if a show closes unexpectedly. The article rightly points out the additional payments actors receive for various circ*mstances, such as moving sets, understudying lead roles, or taking on physically demanding roles.
The historical context provided on the formation of the Actors' Equity Association in 1913 is crucial for understanding the roots of the current system. The unionization of Broadway actors was a response to deplorable working conditions, including lack of pay during rehearsals, self-funded transportation during tours, and the requirement to purchase their own costumes. The 1919 strike played a pivotal role in establishing collective bargaining power for actors, leading to the standardized rates negotiated by the union.
Joining the Actors' Equity Association is portrayed as a necessity for Broadway actors, limiting their opportunities to Equity-contracted shows. The article rightly emphasizes the potential loss of membership for actors working on non-unionized shows. Additionally, it highlights specific productions that have faced conflicts with the union, such as The SpongeBob Musical, Bandstand the Musical, and Escape to Margaritaville.
The diverse range of Equity contract categories, including Broadway, Off-Broadway, business theatre, events contracts, casino agreements, production contracts, and outdoor drama, showcases the complexity of the industry. Each category has its own set of rules and contracts, reflecting the unique demands of different performance venues and formats.
The article provides a nuanced perspective on the fluctuating nature of Broadway salaries, noting the constant shifts based on factors such as roles, performances, and the size of the theater. It highlights the financial challenges faced by actors in the event of a Broadway flop and the potential for salary negotiations, with additional earnings for chorus roles, specialty numbers, safety risks, set movement, and understudies.
The insight into profit-sharing arrangements, as exemplified by the success of Hamilton, adds another layer to the discussion. While Broadway actors typically do not receive a share of profits, exceptions exist for blockbuster productions that generate substantial revenue.
Finally, the article delves into the intricate process of developing shows for Broadway, discussing the role of workshops and development labs. The recent strike by Actors' Equity in 2019, advocating for profit participation for lab actors, underscores the ongoing challenges and negotiations within the industry.
In conclusion, this comprehensive article provides a thorough exploration of Broadway actors' salaries, the influence of unions, and the multifaceted nature of contracts in the ever-evolving world of theater.
