<p>This is an incredibly complicated and personal situation. Much of what was stated here is correct, but to clarify a bit, Equity has different levels of theatres. For example, many small Equity theatres (“under 100 seats” I believe is the term) must hire two or three (or “x” number) actors at the Equity level but the others are non-Equity and these rules change depending on the size of the theatre and contract they have with Equity.</p>
<p>One thing that was not stated is the cross-union agreement (I forget it’s name right now) which states that if you are Equity you cannot perform for a SAG/AFTRA production even though you are not SAG/AFTRA. This complicates things quite a bit, doesn’t it. That is why many younger people (or those newer to the business) prefer the SAG/AFTRA “must join” or “E” (eligible) status or EMC status - it gives them some status and privileges while not restricting them to only union productions. </p>
<p>When my daughter was younger and needed to join the AFTRA union (they were separate then) I fought really hard and won her the privilege to not join (on a technicality) and be just “E” because she was leaving for college shortly and I didn’t want her to be “burdened” with being a union member when she first graduated. As both SAG/AFTRA eligible and EMC she gets the best of both worlds for a beginning adult, it’s worked very well for her this year.</p>
<p>I’ve gone on too long, and it is a constant conversation both here and on the Backstage Forum. It’s like choosing a college, an individual decision.</p>
<p>I would think taking that equity card when you can get one would help you get an agent if you do not already have one. That would be a plus. I know that it would work that way for the screen actors guild.</p>
<p>I’m not so sure, Shacherry. Any agent that’s worth anything can probably find an Equity show to stick a client in if they need a card. With so many schools doing this now for new grads it’s an interesting topic. Are they ready?</p>
<p>My daughter was advised to decline Equity as a kid. Most of the children working professionally in our area waited. Although we do know people with Equity cards who are doing non-equity shows from time to time and I don’t think it’s a big secret. I’m not saying it’s advisable or even okay. But it happens.</p>
<p>Flossy, my thought was it would seem a lot easier to get an agent or a strong agent in the first place if the actor is already in Equity. </p>
<p>Unless, I am mistaken and it is not as hard for theater actors, as it is for TV and film actors, to secure agents. </p>
<p>I am just learning about the theater world. My son is SAG/Aftra but not Equity. He already has an agent that is strong in theater and he auditions for Broadway. But in his case I doubt he would be auditioning for the shows unless he had this agent and was SAG/Aftra.</p>
<p>That makes sense, but I really think it’s so individual that I am unsure if it’s necessarily true as a rule. Your son sounds like a case in point. No Equity card and auditioning for Broadway through an agent. I know he’s Sag/Aftra, but still non-Equity. And, masses of kids are Sag/Aftra now because they took advantage of the merger to get their cards. There are BFA programs where many graduates get cards because of a connection with a theater. I don’t have the answer but it is a very good question. Is this really is a big benefit? I don’t know.</p>
<p>One really interesting tidbit my D was told by a former NYC agent was not to go in for a meeting until you are ready. Most new grads they see, according to her, are not. It’s just scary.</p>
<p>Overall, I think it is a lot easier to be seen for things if you have an agent, and not whether you are Equity or Non-Equity. In my D’s life so far, she has had three agents. </p>
<p>First, as a kid she had a well known NYC agent. She was non-Equity, but got to audition for Broadway shows and the like via agent submission. </p>
<p>When she was a senior in her BFA program, she got an agent via her showcase. That agent submitted her and the first audition the week of graduation was for a show in which my D got her Equity card. </p>
<p>She has another agent now. She doesn’t attend ANY open calls. But she is seen via agent appointments. </p>
<p>So, in my opinion, agent representation is sorta more important than whether you are in Equity or not, because with an agent, you can be seen for Equity shows, such as Broadway, even if you are not Equity. That would be a lot harder to do without an agent. </p>
<p>As an aside, with an agent, you get an audition appointment and without an agent, attending open calls can be very time consuming, cutting into your time to hold other jobs.</p>
<p>Soozievt, your D is very successful in the NYC market, which is amazing. I totally agree that having an agent increases your chances. But the NYC market is different from the regional markets. In the regional markets, it is not as typical to have cattle calls. For most regional non-summerstock auditions, you submit your headshot/resume - with or without an agent - and the theatre then decides whether to see you or not with a scheduled audition. If you have built up a relationship with theaters and/or if your resume has something that interests them, they are more likely to see you. Also, many cities or regions have auditions once a year either through lottery or by resume submission, when all the professional theatres see you at once. This is another big way of being seen without an agent. If the theatre thinks you might fulfill a need for their calendar year, they contact you and schedule and audition.</p>
<p>However, having an agent definitely opens you up for more auditions in general, certainly in national tours or NYC, or if you don’t want to be based in one city. The agent will put your name out there nationally. </p>
<p>So overall, I would think having an agent would improve your chances regardless.</p>
<p>connections, I am glad you pointed this out. I DO think it is different in various markets/locations when it pertains to agents/auditions/open calls, etc. This is also true of what you pointed out earlier in this thread about some regional theaters where it may be better for a young person to stay Non-equity for a while. So, it is best to talk to people in the market where you will be based. I think in NYC, it does help to have an agent.</p>
<p>I don’t think there’s any downside to having an agent unless you sign some kind of exclusivity contract with an agent who is useless. That happens, although I’m not sure about theater so much. But, it happens commercially. </p>
<p>It sounds like there may be a downside to getting a card too soon, though.</p>
<p>I should point out that SOME theaters outside of NYC, actually hold their auditions in NYC. For example, my D is cast in something coming up this year where she will perform the show in two cities but she was cast for it in NYC. One of these two venues is a very well known regional theater.</p>
<p>I agree that having an agent and being in a position to be seen for roles via agent submission is important. Finding the right agent is even more important. There are agents and then there are agents. Being represented by one of the good ones should be the goal.</p>
<p>I suppose my point was, it will be easier to snag an agent as an adult, not a kid, if you are already in the union. Most BFA students did not have agents as a kid and most do not get them from their showcase. </p>
<p>Also, there are different levels of agents, so my thought was having the card gives you access to a higher tier agent, opening up the door to audition for higher paying work. </p>
<p>The OP wanted to know what advantages there are to getting an Equity card rather then waiting. So I thought maybe the whole agent thing was one. </p>
<p>I’d also assume that if your booking Equity work your ready for an agent and ready to keep booking.</p>
<p>“I’d also assume that if your booking Equity work your ready for an agent and ready to keep booking.” </p>
<p>This is the part I wonder about as well when you get a card through a summer of work set up by your school. We know kids in this situation but it’s too soon to say if they will book more work or have a card and not much more. They were thrilled to get that card, though.</p>
<p>I get it actingmt. This is interesting because in TV and film work actors do background work just to get their Sag card and take them up to the next level. That union card is coveted and I do not think much thought is put into being ready to receive it. Actors are also creating and doing union web projects just to get the card for the same reason.</p>
<p>It would be interesting to see if my hunch is right that having a card opens up doors with theater agents like it does in the Tv and film biz. </p>
<p>Perhaps if these colleges feel they need to place their students in summer Equity work and have them graduate with cards the colleges feels it is important for students to have and will lead to work.</p>
<p>It’s an interesting discussion. My thinking is that this likely differs in the theater/Equity realm from the TV/film SAG realm. </p>
<p>I don’t necessarily think you need an Equity card to get an agent for theater in NYC. My kid didn’t have it when she got an agent through showcase. She has a lot of peers from her college program (NYU/Tisch) and I know a lot of other graduates from other BFA programs (or their parents) who got an agent via showcase and they did not have their Equity card. The agents were looking for new talent at the showcases. </p>
<p>Perhaps a few years out of college, the situation may be different in this regard.</p>
<p>Soozievt do most graduating students in programs do showcases and walk away with an agent, or is that just the lucky few? What do actors do who do not have an agent upon graduation?</p>
<p>shacherry…I don’t really know the percentages of how many get an agent out of showcase. Some do and some don’t, for sure. And I think more might secure agents from certain programs than other programs. I just know quite a number of graduates who did get agents. If one doesn’t have an agent, I think these kids seem to attend open calls frequently. My kid doesn’t audition that often as she is just too busy to do so. She also does not put all her eggs in the audition basket. Being cast in shows is just one thing she does. Some kids audition a real lot, such as attending many open calls each week, while doing a survival job, such as waiting tables at night to allow them the time to audition.</p>
<p>I’m curious if “being ready” means having all needed training, being ready with a strong book, being prepped for what happens in an agent meeting, being ready to commit to that specific agent and/or already being set up to live in NYC. How does one assess whether or not they are “ready” to meet with an agent who invites them to do so?</p>
<p>I’d also love to know how one decides which agents are good, aside from surveying your friends and studying Playbills. Is the Agency more important, or the individual Agent?</p>
<p>I’m hoping D knows more about this than her parents do. :)</p>