Imagine you’re a doctor. You’ve put time, money and effort into your training, and have come to be regarded as a professional in your field. Now, there’s a job for a local hospital where you’d like to work. The job carries a $50 “application fee,” and once the hospital in question has decided they want you practicing under their auspices, you’re going to have to pay $5000 in order to see or treat any patients. You can expect about $100 per patient seen as a “kickback” for the chance to treat them, as a way of “honoring” your “investment” with the hospital.
Are you going to take the job? Are you even going to apply?
More importantly, as a patient, are you going to believe that the hospital involved is really interested in providing you with the best medical care available?
Now imagine the hospital is a theater company, and you’re a playwright.
The number of theater companies who think it’s okay to charge both reading and acceptance fees to playwrights seems to be on the rise. And that’s not okay. Playwrights aren’t going to cut into your body (not physically, at least) and they’re not going to save you from an acute life-or-death situation (though they might write something that sticks with you for years to come), but they’re still artists(often trained and practiced) who have put time, effort and ability into their work. And they have no business subsidizing theater companies.
The other day on Facebook, a friend pointed out an “opportunity” for writers who wanted to work with one of NYC’s downtown theater company. After paying a $15 application/reading fee, anyone who was accepted could also look forward to being charged a $175 “acceptance fee” to see their work performed.
Dear budding playwrights and other writers: the name for a company that poduces or publishes you in exchange for money is “vanity publisher.”
I realize that reading plays takes time, and producing them takes money, but as a company, if you’re not making enough off your ticket sales and from producer investments to profit from a play without charging the people who wrote them (who are notorious, industry-wide, for NOT GETTING PAID FOR THEIR WORK) to put them on — and you’re not okay with that — then do you really have any business running a theater festival?
Open a theater school. Run a summer camp. Set yourself up as a dramaturg-for-hire. Open your company to development-for-hire.
Just don’t pretend you’re interested in producing theater that opens opportunities or artistic space for those who can’t afford to subsidize you.
When I co-produced ANY OBJECTIONS? for Glasgay 2012, my fellow producer and I put out a global call for short plays dealing with marriage equality. We were particularly interested in getting plays from Asia, Africa and other regions that were under-represented in the world of Western theater, because those were the perspectives we felt it might be most important to show our primarily English-speaking audience. Our only barrier to entry? The plays had to be in English – we simply didn’t have the time or money required to make a translator available.
Did we charge a reading fee? No. Did we charge an “acceptance fee”? No. Did we make any money off anybody but the patrons who came to the performance? No, we did not. And did everybody involved get some kind of paid?
You bet your underwear they did.
The actors got paid, the director got paid, and every single participating writer (with the exception of one who chose to remain anonymous and who, I believe, we were unable to contact with follow-up information, despite our best efforts) got a check as payment for their participation in the event.
Paying For The Right To Work
While the language of the Playbill notice differs slightly from the language used on the company’s website, let’s note that this is posted in a major theatrical publication under the title of “Editorial/Job Opportunity,” and the last time I saw a job you had to pay to take it was because they were selling you a kit of “E-Z ASSEMBLE-AT-HOME JEWELRY, MAKE $5000/MONTH” or a list of real estate leads. Let’s also note that this is a production festival for female playwrights, a group that’s historically under-represented in theater productions worldwide – which, to my mind, makes it even more unethical to charge them for the privilege of having their work produced.
The company who placed the ad cited above offers a $1-per-ticket return (they call it a “kickback) after a $175 “acceptance fee” – which comes after a $15 “reading fee,” mind – so that the playwright can hope to recoup some of her investment. That means a playwright has to see three sold out shows and one half-full house before she’s broken even. Does the company give any information on their average audience size for the festival, past production attendance or marketing reach? No? What? You mean the festival’s only in it’s first year, so there’s no data on how much reach it has or what ticket prices should be? (Note: While I’ve emailed the company regarding questions about past audience size, marketing reach and more, they requested more information Tuesday and have not responded to subsequent emails.)
If we playwrights are investing, shouldn’t we be doing so in an informed manner? And shouldn’t the company we’re investing in encourage that?
With this kind of barrier to entry, the company is already excluding any playwright who doesn’t have nearly $200 in her budget from even competing. Is this approach really going to net them the most talented, most engaging entrants? Is it going to open up the possibility of performance in a meaningful way? As an audience member, do you think that this company is more interested in producing an evening of theater that excites and challenges you, or in finding a way to wring as much money as possible from an evening of performances?
I get it, making theater takes money. I also understand that not everyone has a deep-pocketed producer on board to help offset their costs. I’ve produced theater under those circumstances, too. You know what we did? Anybody who put money in got their money back first, and any profits were split evenly between all members of the company.
Know what else? Every single one of those productions was profitable.
Artists Get Taken Advantage Of All The Time – Don’t Be One Of Them
Many years ago, a co-worker told me about a friend who had started a photography festival and was now living off the entry fees. Each photographer who sent an entry was charged $150 for the privilege, and in addition to making enough to pay for a considerable cash prize, the person who had started the contest was now making a full-time living off the fees.
So excuse me if I’m a little skeptical of companies that set up on this kind of model. As a producer, either you believe in the work you’re putting on stage or you don’t. If you do, then you assume the financial risk, pay your artists (or take them on in an equal, transparent profit-share), and hope for the best.
If you don’t believe in the work, and you don’t think you’re going to make a profit, and you have a problem with that, then don’t produce the play in the first place.
That said, the only way this practice is going to stop is if writers stop responding to these calls for work. So writers, if you value your work and your time, don’t buy into the hype. Submit to the hundreds of opportunities that don’t ask for your financial investment. You’ve already put your time, training and effort into your art. Don’t feel like you have to pay someone else to make it for you.
Charging artists to produce their work in order to make yourself a buck isn’t about making quality theater. It’s about running the production equivalent of a vanity press.
Presenting that as a great opportunity for new playwrights is not okay.
*To note: this is not the only company charging for acceptance (although Manhattan Rep frames their Spring One Act as a production fee, not one aimed at playwrights, and doesn’t charge for entry) nor are they charging the most.