Wicked Welcomes Trio of New Stars July 20

By Andrew Gans

JULY 20, 2004 - The hit new musical "Wicked" welcomes three new stars ˜ George Hearn, Joey McIntyre and Jennifer Laura Thompson ˜ to its cast July 20.

Tony Award winner George Hearn assumes the role of the Wonderful Wizard of Oz, replacing another Tony winner, Joel Grey, who departed the show mid June.

Jennifer Laura Thompson is now Glinda, the more popular witch originally played by Tony winner Kristin Chenoweth.

And, pop star Joey McIntyre replaces Norbert Leo Butz as Fiyero, the love interest of both Glinda and Elphaba. Idina Menzel, who won a Tony Award for her work as Elphaba, continues in that role.

George Hearn won Tony Awards for his performances in "La Cage aux Folles" and "Sunset Boulevard" and was also nominated for his work in "Watch on the Rhine," "A Doll's Life" and "Putting It Together." Hearn's other Broadway credits include "Meet Me in St. Louis"; "Ghetto"; "Ah, Wilderness!"; "Whodunnit"; "I Remember Mama"; "Sweeney Todd: An Almost Perfect Person"; "Hamlet"; "The Changing Room"; "1776"; and "A Time for Singing."

Jennifer Laura Thompson received a 2002 Tony Award nomination for her performance as Hope Cladwell in "Urinetown." She also appeared on Broadway as Ariel Moore in the original cast of "Footloose" as well as in the City Center Encores! production of "Strike Up the Band." Off Broadway Thompson was seen in "Tip-Toes," "Little Fish" and "A Doll's Life" and in the national tours of "Carousel," "Jesus Christ Superstar" and "The Music of Andrew Lloyd Webber."

Former New Kids on the Block star Joey McIntyre is making his Broadway debut in Wicked. He has appeared Off-Broadway in "tick, tick . . . BOOM!" and in the Los Angeles Reprise! mounting of "Babes in Arms." He was also seen in the film version of Jones and Schmidt's "The Fantasticks" and will be seen in the upcoming movie of "Tony 'n' Tina's Wedding."

With a score by Stephen Schwartz, a book by Winnie Holzman and direction by Joe Mantello, "Wicked" features choreography by Wayne Cilento and plays the Gershwin Theatre, 222 West 51st Street. Tickets are available by calling (212) 307-4100 or by visiting www.ticketmaster.com.

(www.playbill.com)

New Equity Production Contract Features Tiered Touring Program, Increased Health Fund Contributions

By Robert Simonson

JULY 14, 2004 - After hammering out the details of a tentative agreement on a new four year Production Contract, Equity and Broadway Producers have jointly announced some of the pact's major aspects.

The highlights of the agreement, as expressed in a prepared statement, are as follows:

* Wages - The new contract provides an annual wage increase of three percent over the four-year contract.

* Benefits - Producers have agreed to meaningful increases in health fund contributions that seek to stabilize the fund for the foreseeable future.

* Experimental Touring Program - A new, tiered salary system provides an innovative approach to meet the economic needs of the road. The appropriate tier is utilized based on a set of criteria which includes guarantees from presenters to producers, size of company and other variables. The agreement also includes a provision that provides additional compensation for Equity members for successful engagements before a show recoups, and still more compensation once a show is profitable.

* Promotions - The parties have agreed to a mutually beneficial approach to encourage the use of advertising and marketing materials featuring actors across all mediums, providing more flexibility for producers in show marketing.

* Safety - The parties have agreed to jointly develop a safety protocol that will assist producers, directors, designers and actors in the development and staging process to try to reduce the risk of injury to performers.

Equity and the League weren't divulging further details, but Eisenberg told Variety July 11 that the temporary "Oz" pact included a tiering tour proposal which would allow for reductions "between 35 percent and 50 percent" in actors salaries "in some categories."

Of the mentioned "other variables" which will dictate actors' salaries on road shows, one will surely be the somewhat subjective matter of whether the property in question is a smash (along the lines of Hairspray) or a hit of a somewhat softer variety.

Increased producer contributions to the Equity health fund were vitally important to the union going into the talks. League producers contribute a certain dollar amount a week per actor into the union's health care plan. With fewer actors working on the road in recent years, less money has gone into the pot. Last year, the plan ran at a $16 million deficit. This forced Equity to change its eligibility requirements in October 2003. Where a member once had to log in 10 weeks of work annually to quality for a year's coverage, that actor must now accumulate 20 weeks a year, or 12 weeks a year for six months coverage.

An Equity spokesperson could not say what "meaningful increases" to the fund would represent in dollar amounts, or if the "stabilization" of the fund meant getting accounts in the black. However, the work-weeks required for benefits will remain at current levels for the time being.

***********

The agreement first emerged on July 12. Equity brass had been locked in an emergency council meeting since 1 PM, when The League confirmed that it had been reaching out to the union by phone. The meeting was temporarily adjourned mid-afternoon while both sides took part in a phone conference which led to the eventual agreement.
A roller-coaster 72 hours began late Friday night when Equity made its final offer to the producers. That offer was rejected by the League, causing negotiations to break down and Equity to schedule an emergency Council Meeting for Monday.

On Sunday night, in a surprise development, the producers of the Broadway musical "The Boy From Oz" broke ranks with other Broadway producers and struck a temporary deal with the performers union Actors' Equity.

The agreement closely mirrored one offered by Equity during contract talks late last Friday night, Equity executive director Alan Eisenberg said.

The League reacted to the news by holding a sudden meeting at its offices in which other representatives of the trade organization signed a "document of interdependence."

The League told the Times that there wouldn't be any further breaking in the ranks. However, Eisenberg said a deal similar to that accepted by "Oz" was out to other Broadway producers. "We expect several other shows to accept the interim agreement by noon Monday," Eisenberg told Variety.

At 11:30 AM July 12, however, the League issued a statement saying, "Last evening, every show on Broadway, with the exception of "The Boy From Oz," reaffirmed its intention to continue to negotiate as a group with Actor's Equity Association (AEA). This was communicated in a letter to the union, rejecting any offer for individual agreements with the shows. We remain committed to reaching an agreement that is fair and equitable to both sides. This is not the time to change course. We urge AEA to return to the bargaining table to finish the contract."

An Equity spokesman told Playbill On-Line at 11:45 AM July 12 that The Kennedy Center production of "The Glass Menagerie," which operates under a Production Contract, has signed an individual deal with the union. That show begins performances July 17.

At 3:30 PM, the League fired off the second statement of that day, saying "Producers told Actors' Equity this morning that there is no need for a strike. We informed them that they we are willing to work with Equity's last proposal on touring and to try to find other savings to make this possible. Virtually all of the issues in the Production Contract have been resolved and the two sides are reasonably close on touring. We should resolve these remaining differences quickly at the bargaining table."

Eisenberg said that the union's goal, in offering individual agreements outside the negotiations, was to prevent a work stoppage on Broadway and on the road.

Eisenberg also told the trade paper that the temporary pact included a tiering proposal regarding touring productions˜a major issue in the current talks. The proposal would allow for reductions "between 35 percent and 50 percent" in actors salaries "in some categories."

This same tiering proposal did not apparently please League officials. On Saturday July 10, Jed Bernstein, League president, said in a statement, "We believe that having a viable economic plan for the road is critically important to both sides, and we want to continue to work toward an agreement on these issues. However, we will not accept a deal that does not realistically address the problems that face touring Broadway. Equity's last offer on touring is still hundreds of dollars per week higher than the rates they have agreed to in the special deals they've made with non-union producers."

"Oz," which has a scheduled end date of Sept. 12, was one of the Broadway shows widely expected to close in the event of an actors strike.

(www.playbill.com)

Bulletin: Day of Drama Ends with Tentative Agreement Between Equity and Broadway Producers

By Robert Simonson

JULY 12, 2004 - Following a day of numerous press statements from Equity and Broadway Producers and a rally of phone calls between both parties, a tentative agreement on a new four year Production Contract has been reached.

A joint statement from Actors' Equity Association and the League of American Theatres and Producers read: "Actors' Equity Association and the League of American Theatres and Producers announced today they have reached a tentative agreement on a new four year Production Contract. Leadership from both sides will be meeting tomorrow to finalize the details of the contract. The Equity Council will review the agreement and will make a recommendation. The contract will then be sent to the Equity ratification group for vote. The contract will serve our industry and theatre-goers well, keeping Broadway strong in New York and creating more opportunities on the road."

Equity brass had been locked in an emergency council meeting since 1 PM. However, the League confirmed that it had been reaching out to the union by phone several times throughout the day.

A roller-coaster 72 hours began late Friday night when Equity made its final offer to the producers. That offer was rejected by the League, causing negotiations to break down and Equity to schedule an emergency Council Meeting for Monday.

On Sunday night, in a surprise development, the producers of the Broadway musical The Boy From Oz broke ranks with other Broadway producers and struck a temporary deal with the performers union Actors' Equity.

The agreement closely mirrored one offered by Equity during contract talks late last Friday night, Equity executive director Alan Eisenberg said.

The League reacted to the news by holding a sudden meeting at its offices in which other representatives of the trade organization signed a "document of interdependence."

The League told the Times that there wouldn't be any further breaking in the ranks. However, Eisenberg said a deal similar to that accepted by Oz was out to other Broadway producers. "We expect several other shows to accept the interim agreement by noon Monday," Eisenberg told Variety.

At 11:30 AM July 12, however, the League issued a statement saying, "Last evening, every show on Broadway, with the exception of The Boy From Oz, reaffirmed its intention to continue to negotiate as a group with Actor's Equity Association (AEA). This was communicated in a letter to the union, rejecting any offer for individual agreements with the shows. We remain committed to reaching an agreement that is fair and equitable to both sides. This is not the time to change course. We urge AEA to return to the bargaining table to finish the contract."

An Equity spokesman told Playbill On-Line at 11:45 AM July 12 that The Kennedy Center production of The Glass Menagerie, which operates under a Production Contract, has signed an individual deal with the union. That show begins performances July 17.

At 3:30 PM, the League fired off the second statement of that day, saying "Producers told Actors' Equity this morning that there is no need for a strike. We informed them that they we are willing to work with Equity's last proposal on touring and to try to find other savings to make this possible. Virtually all of the issues in the Production Contract have been resolved and the two sides are reasonably close on touring. We should resolve these remaining differences quickly at the bargaining table."

Eisenberg said that the union's goal, in offering individual agreements outside the negotiations, was to prevent a work stoppage on Broadway and on the road.

Eisenberg also told the trade paper that the temporary pact included a tiering proposal regarding touring productions˜a major issue in the current talks. The proposal would allow for reductions "between 35 percent and 50 percent" in actors salaries "in some categories."

This same tiering proposal did not apparently please League officials. On Saturday July 10, Jed Bernstein, League president, said in a statement, "We believe that having a viable economic plan for the road is critically important to both sides, and we want to continue to work toward an agreement on these issues. However, we will not accept a deal that does not realistically address the problems that face touring Broadway. Equity's last offer on touring is still hundreds of dollars per week higher than the rates they have agreed to in the special deals they've made with non-union producers."

Oz, which has a scheduled end date of Sept. 12, was one of the Broadway shows widely expected to close in the event of an actors strike.

According to reports, the two sides were seeing eye to eye on topics such as salary and health benefits, but continued to fight over the issue of tours. In recent years, non-union road shows have proliferated, causing friction between the union and the producers who back or license the non-Equity shows.

The League has offered to table the touring issue until the next round of Production Contract talks, in 2008. That Equity has rejected outright this idea is no surprise; the union has long framed the current talks as a showdown on the matter.

The current contract officially ended on June 27.

(www.playbill.com)

'Good sign' on Broadway: Shows, negotiations go on

JULY 7, 2004 - The Broadway shows go on, and so do the talks between the stage actors and the theater producers.

Negotiations between the Actors' Equity Association and the League of American Theatres and Producers resumed Tuesday after the long holiday weekend and lasted for almost nine hours, Actors' Equity spokeswoman Maria Somma said.

Negotiators' key issues are nonunion tours of Broadway shows, health care costs and worker safety.

Talks tackling the issues, which have threatened to shut down most Broadway plays and musicals, were to resume Wednesday. That was "a good sign," theater producers spokeswoman Kelly Sullivan said.

Both sides have said that performances will continue "into the foreseeable future."

(www.newsday.com)

Actors' Equity and Broadway Producers Return to Negotiating Table July 6

By Robert Simonson

JULY 6, 2004 - Actors' Equity and Broadway producers will return to the negotiating table on July 6, following a nine-day hiatus.

Equity and the Leauge issued a joint press release on July 1 stating, "Actors' Equity Association and the League of American Theatres and Producers, and its coordinating bargaining partners, jointly announced today that negotiations will resume Tuesday, July 6, 2004, at 1 PM. Performances will continue into the foreseeable future."

The two sides have not met since talks broke down during the final hours of Sunday June 27. Each side said the other walked out of talks. The new set of talks effectively extends the current contract, which expired on June 27 at midnight.

The AEA governing council met Tuesday June 29 afternoon to discuss the stalled negotiations.

According to the New York Post, both parties were urged to reconvene by New York City mayor Michael Bloomberg. Bloomberg played an important role in ended the musicians' union strike, which shut down Broadway for four days in March 2003.

The major points of the new Production Contract between actors and stage managers and the producers of Broadway and touring shows are health-care issues and non-union tours. A sorer point, however, may be the Equity demand that League producers uniformly pledge to cease licensing Broadway shows to companies that create non-union tours. According to the Post, producers have bristled as this idea, which they consider unacceptable interference in business decisions that should be theirs alone to make.

A strike would shut down almost every Equity tour (there are 11 on the road) and most Broadway shows except those operating under a separate agreement between Actors' Equity Association and the League of Resident Theatres (LORT) — The Frogs at Lincoln Center Theater, Sight Unseen at Manhattan Theatre Club's Biltmore Theatre and Roundabout Theatre Company's Assassins and After the Fall.

The contract between Equity and the League expired midnight Sunday, June 27. The union and the League will continue operating under the previous contract until there is either a work stoppage or a new contract.

(www.playbill.com)