<p>ttmom, as was said earlier, this is a personal choice. As long as she realizes that she will be prevented from any summer stock job which is not willing to hire her in an Equity position as well as any non-Equity tour once she graduates. </p>
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she goes to school close enough tø the city(NYC) that she has been told by profs and classmates that this will allow her to go and aud if something comes up
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<p>Just to clarify, being non-Equity does not prevent you from auditioning in NYC. Many non-Eq actors attend Equity open calls. While it's true that they may have to wait longer to be seen and that there are no guarantees, they are not prevented from attending auditions. I hope the profs and friends who have been advising her have made this clear. Not to belabor the point but I often wonder why kids think that it's essential to have your Equity card when you move to the city. Anyone know why this seems so common?</p>
<p>I'd like to clarify my comments a bit on the Equity/non-Equity treatment at Disney. Part of the reason for the difference was probably also the type of parts. My S's part was an Equity principal and he worked only for that one show. The non-Equity performers were dancers who were cast in multiple shows. Thus, I think that's why their hours were more difficult. But the "rules" about things like dancing on concrete were very real and different. That being said, the dancers knew what they had to perform on concrete when they took the parts. Most were happy to do so to get the work. Disney for the most part was a really great employer on both sides. The benefits were outstanding (health insurance, park perks, continuing education funding, family and friends perks, discounts, on-site health care, employee cafeterias with reasonable food prices) and the contacts he made were incredible. He would absolutely work for Disney again.</p>
<p>Alwaysamom, I think this is so common because of the ease of auditioning in the city with your equity card. My daughter has heard the same thing over and over from kids with and without their card upon their move to audition in the city. The ones without the equity card said you can waste hours upon hours of time hoping to get an equity audition whereas if you have your card you simply make your appointment and go. You can even do multiple auditions in the same day. Many of them also work while auditioning and it's easier to get a few hours off here or there to make an audition time if you are equity, than to wait all day and not even get seen if you are not. If this is not the case, I would love to hear it because my daughter has heard this repeatedly from people on both sides of the situation.</p>
<p>Kaysmom -- what your D has heard is correct -- for EPA (Equity Principal Auditions) one can sign-up for a time slot in the morning, and then you go during your audition time. Chorus calls work a little differently -- the sign-up goes up at the AEA building a week before hand, you sign up in order and are seen (or typed) in the order on the list.</p>
<p>The bigger issue with having your AEA card is that there is a lot of non-AEA work that is paying for young performers. Once you are AEA you can no longer work non-AEA. So, that is the trade off, and the decision that a young performer needs to make.</p>
<p>Does having representation have any impact on the AE vs. non-AEA audition process? If you are going by agency submission, do the same rules apply?</p>
<p>If you have an agent, it doesn't matter if you are not equity because you are seen by appointment and don't wait on any lines but simply go in for ten minutes. A non Equity actor can be sent in for an audition by their agent for an Equity show. My kid has done it and has many non Equity friends who have agents and are sent out on appointments for auditions for Equity shows including Broadway. With an agent, you bypass open calls, both the Equity and non Equity variety.</p>
<p>MusThCC, Susan is correct. If someone is being seen via an agent submission, they, generally, are not being seen on Open Call days. Appointments are made regardless of whether they are Equity or non-Equity.</p>
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The bigger issue with having your AEA card is that there is a lot of non-AEA work that is paying for young performers. Once you are AEA you can no longer work non-AEA
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<p>This comment by Kat bears repeating. The relative 'ease' of auditioning should never be the determining factor in the decision as to whether or not a college student should get their card.</p>
<p>I didn't mean to imply that ease of audition should be a determining factor in getting an equity card. There is so much more to the decision as KatMT described above. I was just trying to mention something different. I do agree though that there is a lot of non-equity tours and work out there and by getting an equity card you do limit yourself. It is certainly something to think about.</p>
<p>My D definitely understands the ramifications of taking her card with regard to limiting her work options as KATMT said:
"The bigger issue with having your AEA card is that there is a lot of non-AEA work that is paying for young performers. Once you are AEA you can no longer work non-AEA".</p>
<p>She is having a hard time justifying not taking it since she does not know when she might have the opportunity again..and until she has her senior showcase she is not entertaining retaining a NYC agent (she is hoping to get one then, as they all hope for) so it would allow her easier access to open calls - and she of course realizes one can go to these without the card..She has friends who wait hours and then are told, "Sorry, we will not be seeing any non-eq today so thank you." </p>
<p>I thought I would share some of the comments I have received via pms that shed light on why a young college student might take the card, and I hope the people who sent me these comments will know I am sharing bc there seems to be interest by several parents here. Here goes:</p>
<p>" My child aspires to work in this field at the highest levels and to do that you must be in Equity. Especially in NYC or LA."</p>
<p>"My child has no illusions that he was a finished product. Quite the opposite. He knew that he had three more years to train and get ready to compete for work after graduation."</p>
<p>" ...having the Equity card would/could make one a more attractive client for a good agent... one who believes in him/her and will help get work. That's the hope."</p>
<p>"My child was afraid it would limit his chances to work if he took his card... Now he is re-thinking that choice and is regretting it since he has, happily, had some success for summer stock but he already declined on his contract." </p>
<p>My D fully realizes how personal and individual this decision is. The best advice she got from faculty was to be well-informed so she can make an intelligent decision. They also gave her their opinions on the "types" they feel should definitely NOT take cards due to more chances to work in non-eq shows but she is not one of thse "types" according to EVERY one of her professors and mentors from home (half of whom are still in the biz, all of whom were)... Finally, a faculty member who is a NYC casting director told her that if she was sure she would be able to not be intimidated by the "big guns" who show up at auditions then to take her card. I should add that my D is very mature looking, no one thinks she is yonger than 22 or 23, and she is 5'9". Irealize that is still "young" but she woudl never be cast as an ingenue. Her type is leading lady with an "edge" and numerous characters from comic to sexy racy lady to moms to most of those memorable characters in shows.( She realizes that except for some summer stock parts are aways off) She is a soprano/mezzo, big belter, strong legit "true" soprano when need be.. AND also extremely strong dancer/actor so thus she is conflicted! Mostly the advice was if she were a 5'3" to 5'7" ingenue lyric soprano she should not take the card as there would be many more opportunities for roles in non-eq gigs. Just those peoples' opinions. Thought I'd share as I am always appreciative of good advice others get and are willing to share.</p>
<p>I heard through a friend that the Seaside Music Theatre in Daytona has cancelled their entire summer season as a result of losing their major sponsor. Has anyone else heard anything about this? Anyone here have a kid who was scheduled to work there? Very sad news if this is true.</p>
<p>alwaysamom - they just confirmed this on their website. How awful! I really hope they will be able to bounce back. It appears that Lester Malizia is hopeful they will.</p>
<p>I know there were two Elon MT's supposed to work there this summer who had to scramble to see if they could find something else. Both were fortunate enough to have some good contacts and get other summerstock work.</p>
<p>It is very sad and is also hurting many of the Central Florida actors who work there regularly. It's a sign of the times, the result of politics and who is "top dog" (in terms of the banks involved) and a clear warning to everyone not to "put all of your eggs in one basket." The great news is that the theatre is not closing down and there is hope that this can all be worked out.</p>
<p>Between the actors and the technicians, we have many students who have had to scramble due to Seaside cancelling their season. Many have found alternate employment, but not all.</p>
<p>I believe there were 3 Elon students who learned they could not work at Seaside, 2 at the very last minute (one or two days before they were leaving Elon to report to Seaside). Two of these students definitely landed other work, and I'm not sure about the third. </p>
<p>It's very scary for all of our college kids who sign a summer contract when something like this happens at the last minute.</p>
<p>That sucks about Seaside, but it is good to see that they're not closing permanently. It seems to be going around, actually. The Repertory company I've worked with on and off the past few years will also remain dark this summer because of funding cuts. I already had another gig lined up across town (Julie, "Jake's Women") before I heard, but it's always sad to see that. </p>
<p>It's also interesting to see the various advice given about whether to join AEA or not. It's definitely a very individual thing. The advice I've gotten is to avoid joining until I'm at least 25 and past the ingenue phase. I'm sort of a "tweener" type-wise - i.e. taller than the typical ingenue and too young for the meatier leads in the big venues which often go to celebs, anyway. Actually, I'm being told it would be better to go to LA after graduation with an eye towards joining SAG first if I go union at all. Then, as always, I'm "straight" and not MT. :)</p>
<p>As far as good paying jobs, I'm about to start the oh-so-traditional lunch waitress thing again ...</p>
<p>Wanting to bump this up if it is not too early. My D is so inexperienced in the BIG picture (fine with local gigs) that I want to make sure she doesn't miss deadlines...</p>
<p>When do most start auditioning/accepting applications?</p>
<p>PCLO is usually in February, MUNY is usually first week-end in March, Music Theater of Wichita has dates up now, Strawhat(March) is indeed taking apps now and fills up (if you put you are willing to take a stand-by app't you usually get a spot), West Virignia Public Theater has several that are in late Feb. thru first week of April(were last year, check site), Sacremento Music theater were in March last year I think, MWTA at Webster is usually the last week-end in February and is probably taking apps now, fills up quickly, NETC and Northshore were late Feb/into March last year, SETC deadlines may have expired, Buck's County in Feb/March.</p>
<p>I don't know if SETC does more than one audition, but I know they participate in the Florida Theatre Conference in Lakeland this weekend. I know of many UCF students who are planning to attend.</p>