Work Related Rules to most union stage managers means that section of the rulebook* that defines rehearsal and performance rules for that particular contract. Obviously, if you are not working on a union contract then the rules of the establishment take precedence. Bear in mind union contracts with management establish the agreed upon established relationship between the two and both sides have agreed to the conditions of that particular arrangement. Most AEA contracts are divided into sections. You can go to the Actors' Equity web site click on the documents library and look at the various rulebooks that exist for the actors union. Each section in a rulebook is separated into headings such as listed below; Rule 49. Rehearsal, Performance and other work-related rules, and then subdivided by letter and number. There for Paragraph A below has 3 defining subparagraphs that define that particular heading. Therefore the "workweek" for equity is defined in three ways.
Below are the work related rules for the U.R.T.A. rulebook. U.R.T.A. stands for University Resident Theatre Association. It is an organization that allows Universities like mine to hire union talent whether they be actors, directors, or designers. I like to reference the U.R.T.A. rulebook as it most closely resembles actual rules the students will confront when we do hire union labor and are held to that rulebooks standards.
In the AEA website you will see many rulebooks. Anecdotally, there are roughly twice as many rulebooks in existence then when I first joined Actors Equity Association. In red below I have tried to point out what i consider important points to remember when making your calendars. Some affect salary lines and others work conditions. As you read below bear in mind these are the work related rules for the URTA agreement. There are many agreements. You will need to read fully the agreement you are working under. It will cover everything from acceptable working conditions, numbers of performances, travel information and reimbursement, deputies, etc.
49. REHEARSAL, PERFORMANCE AND OTHER WORK-RELATED RULES.
(A) Workweek.
(1) A week shall mean from and including Monday to and through Sunday.
This is an important point to remember. Equity establishes that a union member is paid in the week they they work and that they are paid prior to the last banking day of the week. Therefore, a union performer who begins their contract mid week will be paid a partial payment for that week based on the number of days they work. In the US at least, the last banking day of the week is Friday which means their checks must be delivered at the latest on Thursday.
(2) The total workweek, including but not limited to performances, rehearsals,
costume calls, photographs, understudy and brush-up rehearsals and teaching
assignments shall not exceed 48 hours in Tier II, III and IV theatres. The
workweek in Tier I theatres shall not exceed 42 hours. However, during the
seven-day period prior to an opening performance of the second or subsequent
production of the season, the total hours in Tiers II, III and IV shall not exceed 50
or 48 (In Tier I, 46 or 42 hours), depending on the option selected under (C)(6)(a)
or (b) below.
I will explain this more in detail later but keep in mind that the work week is 48 hours with one exception.
When teaching assignments have been contracted, each hour shall be counted
as two in computing total hours worked.
(3) Teaching assignments may not exceed 10 hours per week.
Compare this to paragraph 2 and a person teaching 10 hours a week has, for the intention of this contract worked 20 hours. This means they only have 28 more hours in the week to work.
(B) Performances.
(1) In Tiers II, III and IV, there shall be no more than eight performances in any week
without additional compensation. In Tier I, performances are limited to six
without additional compensation.
The 8 performance week and the 6 day work week will explain the use of fractions in the following definitions.
(2) Additional performances shall be paid for at the rate of 3/16 of weekly contractual
salary.
3/16 is equal to 1.5 performances. Therefore for each additional they would be paid "time and a half."
(3) There shall be no more than two performances in any day or more than five
performances in any three consecutive day period.
There are many variations. Many you may recognize in your theatre. Whether you do the traditional Tuesday, Wednesday, Wednesday, Thursday, Friday, Saturday, Saturday, Sunday schedule or opt for T-W-T-F-S-S-S-S schedule you will note that neither have more than 5 shows in any 3 day span. In our academic setting we rarely do 8 performances in a week. We generally schedule 6-7 shows a week and our normal run spans two weekends.
(4) Under no circumstances may the workday exceed 8 out of 10 hours, nor may the
workweek exceed 48 hours (Tier 1, 42 hours), except as specified in (C)(6)
below. That (C)(6) is becoming a very important qualifier!
(5) The Actor shall be notified of any change of the performance schedule at least
two weeks in advance, except in an emergency when a shorter notice period
agreed to by a majority of the cast shall be permitted.
You should also start to note that there are several ways to come to agreement. On is by majority vote and another is by unanimous vote.
(6) Any performance which begins prior to 12 noon (except those for student
audiences) or which continues beyond 1:00 a.m. shall be paid for at the rate of
an additional 2/8 of weekly contractual salary. If there are to be any
performances prior to 12 noon, the Actor shall be so advised at the time of
audition or interview. In the event the Actor is engaged without audition or
interview, he shall be so advised at the time of contract signing. In either event,
a rider must be attached to the contract. Should there be no rider, the Actor shall
not be required to perform without the express consent of Equity.
A rider is an addendum to a contract.
(C) Rehearsals.
(1) On non-performance days, rehearsal and teaching shall not exceed 8-out-of-10
consecutive hours. This shall be reduced to 7-out-of-9 consecutive hours should
the University and/or Theatre select the option available in (6)(b) below. The
University and/or Theatre may change the schedule twice during the season
upon two weeks' written notice prior to the start of rehearsal of the production,
which is to be affected by the change.
In the event this happens the stage manager should, if time permits, reissue any hard paper calendars to the company and should post the change on the callboard as well as announce to the company that the change is taking place.
(2) Six-Hour Rehearsal Block. A six-hour rehearsal block may be utilized provided
the following conditions are met:
(a) Provided there has been a ¾ majority secret ballot vote by the cast at the
first rehearsal, the University and/or Theatre may schedule 6 six-hour
rehearsal days in one week and may add two additional hours in one hour
segments for photo and costume calls. There shall be a one-hour
meal break between rehearsal and photo/costume call unless the
individual Actor requests that no break be given. This shall be the entire
work schedule for the week.
(b) A ¾ majority cast vote, by secret ballot, at the first rehearsal shall be
required for use of a six-hour rehearsal block in combination with the
standard rehearsal schedule in (1) above. Thereafter, if the six-hour
option is to be used, the University and/or Theatre shall give the cast 12
hours’ notice.
(i) The six-hour rehearsal block shall constitute the entire work
schedule for the day.
(ii) Each six-hour rehearsal block used shall count as eight hours for
the purposes of calculating the hours rehearsed in a workweek.
(iii) No teaching duties may be assigned on days that utilize the six hour
rehearsal block.
(c) Within the six-hour rehearsal block, there shall be 40 minutes of break
time to be distributed in accordance with (E)(1) below except that one
break shall not be less than 20 minutes.
The six hour block rehearsal is very useful for smaller cast sizes. The Mystery of Irma Vep that I stage managed utilized this block. Any longer and the two actors in the show would become more inefficient. There is only so much a person can absorb in a day.
(3) Repertory. For those Universities and/or Theatres performing in repertory, as
defined by Rule 19(D), the University and/or Theatre may, on non-performance
days, schedule rehearsals not to exceed eight hours. These may be 8-out-of-12
consecutive hours, or two blocks of four consecutive hours separated by a rest
period of no less than four consecutive hours. This shall not occur more than
three times in any workweek. Should the University and/or Theatre choose this
option, transportation to and from the Actors’ housing must be provided to
accommodate each Actor’s schedule.
(4) On One-Performance Days:
(a) if the performance is 3½ hours or less (including half-hour), rehearsal and
teaching shall not exceed 5 hours;
(b) if the performance is over 3½ hours (including half-hour), rehearsal and
teaching shall not exceed 4½ hours;
(c) if the performance is over 4 hours (including half-hour), rehearsal and
teaching shall not exceed 4 hours.
(5) On a two-performance day, the Actor may not rehearse nor may the
Actor/Teacher and/or Stage Manager/Teacher teach.
(6) During the seven-day period prior to the opening of the second and subsequent
productions respectively, the University and/or Theatre may schedule rehearsals
as follows:
(a) One day of 10-out-of-12 consecutive hours for each such second or
subsequent production provided the University and/or Theatre has
elected the option of rehearsing 8 out of a span of 10 consecutive hours
on a non-performance day, or;
Think of it this way:
Five 8 hour days = 40 hours
One 10 hour day = 10 hours
40 hours + 10 hours gives you your 1 50 hour work week.
(b) Two days of 10-out-of-12 consecutive hours for each such second or
subsequent production provided the University and/or Theatre has
elected the option of rehearsing 7 out of a span of 9 consecutive hours on
a non-performance day.*
Four 7 hour days = 28 hours
Two 10 hour days = 20 hours
28 hours + 20 hours = 48 hours or the amount of hours allowed in a work week!
*I actually prefer this schedule and something you should discuss with your director. With 7 out of 9 hours the six day work week becomes 42 hours or 7X6=42. The extra allowable 6 hours allows me as the stage manager to schedule costume fittings in and around rehearsal without taking someone out of rehearsal. Remember 48 hours is the maximum allowed rehearsal week allowed on this rulebook (with the one exception already mentioned). With the extra 6 hours I can be more flexible with meeting the costume shops needs.
(c) In no instance shall there be more than two days of rehearsal of 10-out of-
12 consecutive hours in any workweek.
(d) The University and/or Theatre shall complete an on-set technical-dress
rehearsal prior to the first paid public performance. If an emergency
prevents the completion of such tech-dress rehearsal, the University
and/or Theatre shall make all possible efforts to complete rehearsal of
any aspects of the production which might endanger the Actor.
(e) During a summer season the provisions of (a), (b), (c), and (d) above will
also apply to the first production.
(f) The rehearsal schedule shall be announced to the company at the first
rehearsal of the first production of the season and may be changed twice
during the season upon two weeks' written notice prior to the beginning of
rehearsal of the production, which is to be affected by the change.
(7) Rehearsals during the Actor's final production of the season shall be subject to
the following:
(a) Rehearsals shall be for understudy, brush-up and replacement only.
(b) For the first two weeks or the first eight public performances, whichever
shall come sooner, the regular rehearsal schedule provided for in (1)-(6)
above and (8) below shall apply.
(c) After such period, and for one week only, rehearsals shall be limited to six
hours per week.
(d) Subsequently, rehearsals shall be limited to four hours per week.
(e) The restrictions of this Rule do not apply to teaching assignments.
(8) Rehearsals must be consecutive except for a break of 1½ hours after five
consecutive hours of work.
Consecutive hours are another repeated and important concept. Except as described above in (3) above it is understood that hours will be consecutive to each other. In other words, you can't rehearse them in the morning then take a long break and rehearse them in the evening.
(D) Costume Calls, Photographs and Publicity.
(1) Costume calls must be consecutive to rehearsal hours and may be used and
calculated in segments of no less than one-half hour. However, combined
costume and rehearsal hours may reach a maximum of six consecutive hours
without a break.
That would be the allowed five hour call without a lunch break plus the hour costume call.
(2) The University and/or Theatre may require the Actor to pose not only for
customary and usual photographs, but also for photographs to appear in
magazines or newspapers for the sole purpose of publicizing and advertising the
play. Said photographing may only take place on a one-performance day or
before or after rehearsal, and subject to the limitations as set forth herein, or
during the authorized rehearsal hours, but in no event during auditions.
Notwithstanding the above, no photographing may take place after an evening
performance on a day immediately preceding the Day Off.
(3) There shall be no more than one picture call in any week and of no less than
one-half hour's and no more than 90 minutes’ duration. The Actor shall receive
no less than 24 hours' notice of a picture call. (See also (1) above.)
(4) If the picture call takes place after a performance, refreshments shall be made
available to the Actor at the University and/or Theatre's expense, and no photo
call may extend beyond 1 a.m.
(5) If the photographs are taken at a time other than hereinabove specified, or if the
limitation in the number of calls in (3) above is exceeded, the Actor shall be paid
not less than an additional one-eighth of his weekly salary for each day or part
thereof in which the photographing takes place.
(6) The Actor's name shall be properly credited in the publicity whenever and
wherever the photographs are used by the University and/or Theatre, except in a
group photo of more than three.
The Actor shall have the right of approval of all individual non-production
photographs used or distributed by the University and/or Theatre and under its
control. If the Actor withholds permission, he may be required to supply his own
photographs.
(7) The University and/or Theatre shall reimburse the Actor for all reasonable
personal expenses incurred in connection with personal and publicity
appearances, initiated or required by the University and/or Theatre.
(8) The Actor's picture may not be used in conjunction with a commercial product
unless the University and/or Theatre has obtained the Actor's prior written
authorization identifying the product involved and a rider attached to the Actor's
contract specifying additional compensation.
(E) Breaks, Rest Periods, Days Off.
(1) There shall be a break of no less than 1½ hours after five consecutive hours of
work. The Equity Company may, by a unanimous secret vote, reduce this break
to one hour.
Remember that these rules apply to the Equity actors only. If you are in a mixed company of union and nonunion performers you must hold the vote with only the union members and they must be in a room by themselves for the vote. Take and hand each union actor an unidentifiable piece of paper. You and the equity deputy should collect and count the votes and you (the stage manager) should report the vote to the company and the director.
Except during Dress Rehearsal, each individual Actor will be given a five-minute
rest period after no more than 55 minutes. If a five-minute rest period is not
given in a particular hour, a 10-minute rest period must be given after no more
than one hour and 20 minutes.
(2) There shall be a break between rehearsals, photo and/or costume calls, and the
half-hour call. There must be an Equity Company vote by secret ballot, majority
controlling, indicating whether such break shall be 1½ or two hours.
(3) There shall be no less than a 12-hour rest period between the end of
employment on one day and the beginning of employment on the next day. At
the Equity Company's request, by a two-thirds majority secret ballot vote, the rest
period on one-performance days may be reduced to a minimum of 10 hours.
(4) There shall be no less than 1½ hours and no more than three hours between
curtain down and a rehearsal call or teaching assignment. The rest period may
be reduced or extended by an Equity Company majority vote.
(5) There shall be a 1½ hour rest period, exclusive of half-hour, between
performances. The University and/or Theatre may reduce this period to not less
than one hour inclusive of half-hour, provided both performances are of the same
play and provided a hot meal with choice of entree is served to the cast at the
University and/or Theatre's expense. The rest period shall be computed from the
time the meal is delivered, but no earlier than curtain down.
(6) There shall be one scheduled Full Day Off each week free of rehearsals, travel,
teaching and/or performances. A Full Day Off shall be 24 hours in addition to the
regular rest period required at the end of each working day.
The Day Off shall be stated in the contract and may be changed no more than
three times during the first 24 weeks of the season and three times during the
balance of the season upon one week's notice. There may be one additional
change during the period commencing with the first day of the calendar week
within which Christmas Day falls and ending on the last day of the calendar week
in which New Year's Day falls. Under no circumstances may more than eight
consecutive days elapse between Days Off except that 12 days may elapse
between Days Off on two occasions during any given season.
(7) During performance weeks, there shall be no rehearsal of the currently playing
production on the day following a Full Day Off, except in an emergency.
Referred to as the "daylight day of rest" rule, from the end of the work day prior to the day off and up to the call for performance following the day off there may be no rehearsals or calls except as stipulated in the agreement. The U.R.T.A. contract differs from other contracts in that is stipulates that you can only go 12 days between days off on two occasions during the season. In touring it is fairly common that you would take Monday as a day off in one work week, the go 12 straight days and take the Sunday off in the week following.
(F) Notes immediately after a preview performance may be given under the following
conditions:
(1) A majority of the cast must agree by secret ballot before notes are permitted.
(2) If permitted, notes may be given following no more than four preview
performances prior to the opening.
(3) The note session shall be limited to one hour from curtain down and that hour
shall be deducted from the next rehearsal day.
(4) Notes may be given only on a one-performance day.
These constitute the majority of the work related rules on the U.R.T.A. contract. Not mentioned here but in the rulebook is that the rest period for the stage manager during technical rehearsals may be no less than 8 hours.
Important phrases to remember:
These rules help inform the calendar. The calendar is what you use to keep the schedule that will allow everyone to meet their appropriate deadlines. You should monitor and update the calendar on a regular basis.