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Actors’ equity and broadway league reach tentative agreement over new touring contract.

The deal comes after the union for actors and stage managers had issued a strike threat.

By Caitlin Huston

Caitlin Huston

Business Writer

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Actors’ Equity has reached a tentative agreement with the Broadway League over a new touring contract.

The deal comes after the union, which represents more than 51,000 stage managers and actors, had announced a strike threat against the Broadway League, which represents industry producers, presenters and general managers, on April 3, at which time a resolution seemed far off. The two parties had been negotiating since mid-January to create a new touring contract. 

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Equity’s priorities for the touring contract included increasing members’ per diem rates to cover the rising cost of food and housing on the road, wage increases and greater coverage for actors and stage managers on tour, whenever a member is sick, injured or otherwise unable to go on.

April 11 and April 12 were the last two scheduled days of bargaining between the two parties. Ahead of the final bargaining days, Actors’ Equity had been ramping up its campaigning by having Equity members on tour pass out informational leaflets about the negotiations to audience members. 

As of April 3, 89 percent of members on tour had signed a strike pledge. Equity’s national council voted to authorize a strike several weeks ago.

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Paramount global co-ceos reveal bankers hired to sell assets; discuss path forward at town hall, actors’ equity members ratify touring contract with broadway league – update.

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UJPDATED, 6:23 PM: The 51,000-plus members of Actors’ Equity Association today ratified the touring agreement that was reached with The Broadway League two weeks ago. The new deal runs through September 7, 2026.

Actors’ Equity said the pact contains advances in equity, diversity and inclusion; paid sick leave; and safeguards for those who need reproductive and gender-affirming care.

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Said Charlotte St. Martin, president of The Broadway League : “This new agreement provides much-needed flexibility and cost savings in key areas for our touring producers while addressing the core concerns of the union.”

PREVIOUSLY, April 13: Actors’ Equity Association and The Broadway League have reached a tentative agreement on a new touring contract, the organizations announced today.

The new, three-year collective bargaining agreement agreement, which supersedes previous production contract touring and short engagement touring agreements, remains subject to ratification by Equity members.

The two sides – Equity represents theater actors and stage managers, and the League is the trade organization for theater owners and producers – began negotiations in January for a new touring agreement. The union had recently authorized a strike pending a resolution over disagreements on wage increases and per diem rates.

Details on the agreement were not disclosed.

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• Moulin Rouge! The Musical
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• The Last Five Years
• The Lion King
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• Yellow Face

Actors’ Equity ratifies new touring agreement

This news comes on the heels of a separate, updated agreement with the League of Resident Theatres.

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Actors’ Equity Association and the Broadway League have brokered a new agreement that will govern professional actors and stage managers who work on all union tours. The April 28 announcement of the newly ratified contract comes after months of negotiations.

In completing this agreement, Equity and the League managed to avoid a strike . The revisions comprise a large change for the industry, as tours were previously governed under multiple individual contracts determined by a tiered system. The most recent negotiations have led to a single contract that will be in effect through Sep. 27, 2026.

However, this single contract still divides touring productions into levels. The previous agreement stipulated 10 tiers of touring; for the new agreement, these categories have been condensed into seven.

Among the changes are salary increases for each job category at all levels. Minimum salaries increase 4 percent now and 4 percent each year of the three-and-a-half-year contract. The new contract also includes increased increments for additional duties that Equity members might take on. Further, the contract stipulates increased health benefits.

Also of note, the new agreement requires all tours to share consistent terms for housing and per diem, regardless of level. Producers will now pay for company housing; per diem will cover food and incidental expenses. All Equity members will have access to three days’ paid sick leave; previously, members earning above a specific threshold were not granted that benefit. Additionally, all members will receive an additional personal day.

Another priority of negotiations regarded coverage — swings, understudies and substitute stage managers. The new agreement stipulates that adequate coverage includes at least one swing for every four onstage chorus performers. A full breakdown of changes can be found in the member portal on the Equity website.

“Creating a new, unified touring agreement has been a long-term goal, and it was a massive undertaking,” said Kate Shindle, president of Equity, in a statement. “We will continue to focus on improving quality of life for the actors and stage managers who commit to bringing world-class theater to communities across the country. I am grateful for the sustained, passionate and creative work of everyone who contributed to this negotiation.”

“The Broadway League is pleased that we have reached an agreement with Actors’ Equity Association covering all our touring productions and allowing our members to continue to provide the Broadway experience in theaters across the country,” said Charlotte St. Martin, president of the Broadway League, in a statement. “This new agreement provides much needed flexibility and cost-savings in key areas for our touring producers while addressing the core concerns of the union.”

Also in the month of April, Equity and the League announced the ratification of a new four-and-a-half-year agreement for actors and stage managers working at League of Resident Theatre (LORT) houses. LORT consists of 79 member theaters across 30 states and Washington, D.C. — including Broadway nonprofits Lincoln Center Theater, Manhattan Theatre Club, Roundabout Theatre Company and Second Stage Theater. The new Equity-LORT agreement includes salary increases and growth in all three employment categories: chorus, principals and stage managers. It also broadens protection surrounding bullying, discrimination and harassment as well as assurances around hair styling and costuming as part of diversity, equity and inclusion standards. Notably, the contract also creates additional opportunities for the development of new artistic work at LORT houses.

In the fall of 2022, Equity and the Broadway League also ratified a new agreement that provides the terms for Broadway and sit-down production. Equity is the national union representing more than 51,000 professional actors and stage managers in live theater. The Broadway League is the national trade association for the Broadway industry with members that include theater owners and operators, producers, presenters and general managers around the world.

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What's On Tour? A Guide to Currently Running and Upcoming National Touring Productions

Learn more about all of the shows now playing or coming soon to a theatre near you!

Need some Broadway in your life in 2023 but can't make it to New York City? As a new year begins, theatre fans are flocking to their local theatres to check out a touring production of their favorite hit shows! Favorites like Hamilton, Wicked, Anastasia, and Beetlejuice have already announced planned stops around the country.

LATEST NEWS

Want to know what's on tour now, or coming soon to a theatre near you? Enjoy Broadway locally with BroadwayWorld's full list of Broadway National Tours in 2023.

Currently Running Tours

A Soldier's Play

Equity Now on tour

This 1982 Pulitzer Prize-winning thriller has rocketed back into the spotlight, thanks to this 2020 Tony Award®-winning Best Revival from Roundabout Theatre Company. In 1944, on a Louisiana Army base, two shots ring out. A Black sergeant is murdered. And a series of interrogations triggers a gripping barrage of questions about sacrifice, service, and identity in America. Broadway's Norm Lewis leads a powerhouse cast directed by Tony winner Kenny Leon .

Full Tour Dates Here

Ain't Too Proud

It was a sound that would change music history. Ain't Too Proud is the electrifying new musical that tells the story of The Temptations from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and unmistakable harmonies, everybody knows the Temptations' hits, but Ain't Too Proud brings the rest of the rocky history to life; how the founding members met, the unbelievable heights that they hit, and how personal and political conflicts threatened to tear the group apart as the country fell into civil unrest. With a book by Dominique Morisseau , choreography by Sergio Trujillo , and direction by Des McAnuff , this musical tells the thrilling story of brotherhood, family, loyalty, and betrayal, featuring the toe-tapping hits hits like "My Girl," "Just My Imagination," "Papa Was a Rolling Stone," and many more.

You won't need a magic lamp to experience this crown-pleasing musical. Disney's beloved story about the Diamond in the Rough is brought to thrilling theatrical life in this exciting new Broadway musical. Just as it has on screen for decades, Aladdin's journey sweeps you into an exciting world full of daring adventure, classic comedy and timeless romance. Directed and choreographed by Tony Award winner Casey Nicholaw , this stage adaptation of the beloved animated classic features the iconic film score by the legendary team of Alan Menken and Howard Ashman , with new lyrics by Sir Tim Rice , along with book and additional lyrics by Chad Beguelin .

Non-Equity Now on tour

Inspired by the beloved films, Anastasia transports audiences from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family.

Holding onto hope when times are tough can take an awful lot of determination, and sometimes, an awful lot of determination comes in a surprisingly small package. Little Orphan Annie has reminded generations of theatergoers that sunshine is always right around the corner, and now the best-loved musical of all time is set to return in a new production - just as you remember it and just when we need it most. ANNIE, directed by Jenn Thompson , features the iconic book and score, written by Tony Award®-winners Thomas Meehan , Charles Strouse and Martin Charnin . This celebration of family, optimism and the American spirit remains the ultimate cure for all the hard knocks life throws your way.

Beetlejuice

It's showtime, folks! The ghost-with-the-most makes his Broadway return in this edgy and irreverent musical comedy based on Tim Burton 's dearly beloved film. BEETLEJUICE tells the story of Lydia Deetz, a strange and unusual teenager whose life changes when she meets a recently deceased couple and Beetlejuice, a demon with a thing for stripes. When Lydia calls on Beetlejuice to scare away anyone with a pulse, this double-crossing specter unleashes a (Nether)world of pandemonium, and the biggest sandworm Broadway has ever seen.

The Book of Mormon

From the creators of South Park comes The Book of Mormon, the musical that lovingly breaks all of Broadway's rules. This story about a mismatched pair of Mormon missionaries took Broadway by storm in 2011. Book of Mormon is collaboration Trey Parker , Matt Stone , and Robert Lopez , and was co-directed by Parker and Casey Nicholaw .

Based on T. S. Eliot's Old Possum's Book of Practical Cats, the show is set amongst a larger- than-life junkyard playground and is alive with our favourite feline characters including Rum Tum Tugger, Mr. Mistoffelees, Macavity, Jennyanydots, Old Deuteronomy, Grizabella and Skimbleshanks. The Jellicle Cats come out to play on one special night of the year, the night of the Jellicle Ball. One by one they tell their stories for the amusement of Old Deuteronomy, their wise and benevolent leader, who must choose one of the Cats to ascend to The Heaviside Layer and be reborn into a whole new Jellicle life.

After 25 years, CHICAGO is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one show stopping song after another and the most astonishing dancing you've ever seen. No wonder CHICAGO has been honored with 6 Tony Awards®, 2 Olivier Awards, a Grammy®, and thousands of standing ovations. As we celebrate our 25th anniversary -you've got to come see why the name on everyone's lips is still...CHICAGO.

Come From Away

COME FROM AWAY is the breathtaking new musical that played record-breaking engagements in La Jolla and Seattle. Written by Canadians Irene Sankoff and David Hein , this is the stunning production from Tony-nominated director Christopher Ashley (Memphis). In a heartbeat, 38 planes with 6,579 passengers were stranded in a remote town in Newfoundland. The locals opened their hearts and homes, hosting this international community of strangers- spurring unexpected camaraderie in extraordinary circumstances.

Dear Evan Hansen

A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing heart's always wanted: A chance to finally fit in. Both deeply personal and profoundly contemporary, DEAR EVAN HANSEN is the new American musical about life and the way we live it.

Fiddler on the Roof

Rich with musical hits you know and love, including "Tradition", "Sunrise, Sunset", "If I Were A Rich Man", "Matchmaker, Matchmaker" and "To Life (L'Chaim!)", FIDDLER ON THE ROOF is the heartwarming story of fathers and daughters, husbands and wives, and life, love and laughter. Tony-winning director Bartlett Sher and the team behind South Pacific, The King and I and 2017 Tony-winning Best Play Oslo, bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick . Featuring a talented cast, lavish orchestra and stunning movement and dance from Israeli choreographer Hofesh Shechter , based on the original staging by Jerome Robbins , FIDDLER ON THE ROOF will introduce a new generation to the uplifting celebration that raises its cup to joy! To love! To life!

Frozen, a full-length stage work told in two acts, expands upon and deepens the tale's indelible plot and themes through new songs and story material from the film's creators; in fact, this new stage production features more than twice as much music as the film. Based on the 2013 film written by a trio of Oscar winners, Frozen features music and lyrics by the creators of the film score Kristen Anderson-Lopez (Up Here, Winnie the Pooh, In Transit) and EGOT-winner Robert Lopez (Avenue Q, The Book of Mormon, Up Here) and a book by Jennifer Lee (Zootopia, Wreck-It Ralph), the film's screenwriter and director (with Chris Buck ). Frozen won 2014 Oscars for Best Song ("Let It Go") and Best Animated Feature.

In Hadestown, a song can change your fate. This Tony-winning new musical by Anaïs Mitchell and innovative director Rachel Chavkin is a love story for today, and always. Intertwining two mythic Greek tales - that of young dreamers Orpheus and Eurydice, and of King Hades and his wife Persephone - Hadestown invites you on a journey to the underworld and back.Mitchell's alluring melodies and Chavkin's poetic imagination pit industry against nature, doubt against faith, and fear against love, with art perhaps being the one thing that can save it all. Hadestown is a haunting and hopeful theatrical experience that grabs you and never lets go.

It's 1962, and pleasantly plump Baltimore teen Tracy Turnblad has only one desire - to dance on the popular Corny Collins Show. When her dream comes true, Tracy is transformed from social outcast to sudden star, but she must use her newfound power to vanquish the reigning Teen Queen, win the affections of heartthrob Link Larkin and integrate a TV network - all without denting her 'do! Don't miss Hairspray, Broadway's musical-comedy phenomenon that inspired a major motion picture and won eight 2003 Tony Awards, including Best Musical.

Hamilton (And Peggy Company)

HAMILTON is the story of America's Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington's right-hand man during the Revolutionary War and was the new nation's first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

The And Peggy tour kicked off in January 2019.

Hamilton (Angelica Company)

The Angelica tour kicked off in August 2021.

Hamilton (Philip Company)

The Philip tour kicked off in March 2017.

Jagged Little Pill

Joy, strength, love, courage, catharsis, LIFE: everything we want in a Broadway show can be found in this Tony and Grammy Award-winning new musical about a perfectly imperfect American family, based on Alanis Morissette 's world-changing music. You live, you learn, you connect, you jump out of your seat, you feel truly human... at JAGGED LITTLE PILL.

Jesus Christ Superstar

Jesus Christ Superstar is an iconic musical phenomenon with a world-wide fan base. In celebration of its 50th Anniversary, a new mesmerizing production comes to North America. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring. Featuring award-winning music by  Andrew Lloyd Webber  and lyrics by  Tim Rice , Jesus Christ Superstar is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes 'I Don't Know How to Love Him', 'Gethsemane' and 'Superstar'.

Legally Blonde

America's favorite blonde, Elle Woods, is ready to prove who's in charge (again) as Legally Blonde - The Musical takes America by storm! The ultimate Broadway tribute to girl power, Legally Blonde will take you from the UCLA sorority house to the Harvard halls of justice with the timely coming-of-age story of Broadway's brightest heroine. Based on the beloved movie, Legally Blonde follows the transformation of Elle Woods as she tackles stereotypes, sexism, snobbery, and scandal in pursuit of her dreams, and proves that you can be both legally blonde AND the smartest person in the room.

Les Miserables

Cameron Mackintosh presents the new production of Alain Boublil and Claude-Michel Schonberg 's Tony Award-winning musical phenomenon, Les Miserables, direct from an acclaimed two-and-a-half-year return to Broadway. With its glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo , this breathtaking new production has left both audiences and critics awestruck.

Featuring the thrilling score and beloved songs "I Dreamed A Dream," "On My Own" "Stars," "Bring Him Home," "One Day More," and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. Seen by more than 70 million people in 44 countries and in 22 languages around the globe, Les Miserables is still the world's most popular musical, breaking box office records everywhere in its 32nd year.

The Lion King

Giraffes strut, birds swoop, gazelles leap - the entire Serengeti comes to life. And as the music soars, Pride Rock slowly rises from the stage. This is THE LION KING. A spectacular visual feast, this adaptation of Disney's much-loved film transports you to a dazzling world that explodes with glorious colors, stunning effects and enchanting music. At its heart is the powerful and moving story of Simba, and his epic journey from wide-eyed cub to his destined role as King of the Pridelands. The Lion King won six 1998 Tony Awards: Best Musical, Best Scenic Design ( Richard Hudson ), Best Costume Design ( Julie Taymor ), Best Lighting Design ( Donald Holder ), Best Choreography ( Garth Fagan ) and Best Direction of a Musical, making Taymor the first woman in theatrical history bestowed with the honor. The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design.

MEAN GIRLS is now a ferociously funny new musical from director Casey Nicholaw , composer Jeff Richmond , lyricist Nell Benjamin (Legally Blonde) and book writer Tina Fey . Cady Heron may have grown up on an African savanna, but nothing prepared her for the wild and vicious ways of her strange new home: suburban Illinois. How will this naive newbie rise to the top of the popularity pecking order? By taking on The Plastics, a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina's reign, she learns the hard way that you can't cross a Queen Bee without getting stung. Produced by Lorne Michaels , Stuart Thompson , Sonia Friedman , and Paramount Pictures, MEAN GIRLS gets to the hilarious heart of what it means to be a true friend, a worthy nemesis, and above all, a human being.

Moulin Rouge! The Musical

Baz Luhrmann 's luscious film comes to life on stage in one of the most eye-popping shows to ever hit Broadway. Enter a world of splendor and romance, of over-the-top excess, of glitz, grandeur and glory! In this breath-taking new musical, the Moulin Rouge comes to life onstage, in a new musical mash-up extravaganza. A theatrical celebration of truth, beauty, freedom and - above all - LOVE, Moulin Rouge! is more than a musical; it is a state of mind.

My Fair Lady

The most beloved musical of all time, Lerner & Loewe's MY FAIR LADY is back on Broadway in a lavish new production from Lincoln Center Theater , the theater that brought you the Tony-winning revivals of South Pacific and The King and I. Directed by Tony winner Bartlett Sher , the stellar cast tells the story of Eliza Doolittle , a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a "proper lady." But who is really being transformed? The classic score features "I Could Have Danced All Night," "The Rain in Spain," "Wouldn't It Be Loverly" and "On the Street Where You Live." The original 1956 production won six Tony Awards including Best Musical, and was hailed by The New York Times as "one of the best musicals of the century."

On Your Feet!

ON YOUR FEET! is the inspiring true story about heart, heritage and two people who believed in their talent-and each other-to become an international sensation: Gloria and Emilio Estefan . Now their story has arrived on stage in an exhilarating original production that's already won the hearts of critics and audiences alike, with the Chicago Tribune declaring "IT'S A HIT!" and The New York Times cheering, "The very air in the room seems to vibrate in this undeniably crowd-pleasing musical!" "If you aren't humming a Gloria Estefan hit when you leave the theater, it might be time to check your pulse!" raves the Associated Press. Directed by two-time Tony Award® winner Jerry Mitchell (Kinky Boots), with choreography by Olivier Award winner Sergio Trujillo (Jersey Boys) and a book by Academy Award® winner Alexander Dinelaris (Birdman), ON YOUR FEET! features some of the most iconic songs of the past quarter-century, including "Rhythm is Gonna Get You," "Conga," "Get On Your Feet," "Don't Want To Lose You Now," "1-2-3" and "Coming Out of the Dark." Prepare to be on your feet from start to finish!

Pretty Woman

Once upon a time in the late '80s, unlikely soulmates Vivian and Edward overcame all odds to find each other... and themselves. Experience the moments you love from the movie - and get to know these iconic characters in a whole new way - in this dazzlingly theatrical take on a love story for the ages. Brought to life by a powerhouse creative team representing the best of music, Hollywood and Broadway, Pretty Woman: The Musical will lift your spirits and light up your heart. Jerry Mitchell directs and choreographs, with book by Garry Marshall and J.F. Lawton , and music & lyrics by Bryan Adams and Jim Vallance .

SIX (Aragon Tour)

Divorced, beheaded, died, divorced, beheaded, survived. From Tudor Queens to Pop Icons, in SIX the wives of Henry VIII take the mic to reclaim their identities out of the shadow of their infamous spouse-remixing five hundred years of historical heartbreak into a celebration of 21st century girl power.

The Aragon tour kicked off in March 2022.

SIX (Boleyn Tour)

The Boleyn tour kicked off in September 2022.

Tina Turner Musical National Tour | Broadway World" height="225" src="https://cloudimages.broadwayworld.com/logos/EC0834C7-3243-45A9-84E78600FFFFC621.jpg" style="float:right" width="150" />

Tina: The Tina Turner Musical

Experience Tina Turner 's triumphant story live on Broadway at the exhilarating, undeniable mega hit: TINA - THE Tina Turner MUSICAL. Celebrate the unstoppable woman that dared to dream fiercely, shatter barriers, and conquer the world-against all odds. Set to the pulse-pounding soundtrack of her most beloved hits, this electrifying sensation will send you soaring to the rafters.

To Kill a Mockingbird

Harper Lee 's Pulitzer Prize-winning American classic To Kill a Mockingbird comes to Broadway for the first time in a new adaptation by Aaron Sorkin and directed by Bartlett Sher . This new interpretation of the beloved, iconic American story retells the story of one of literature's towering symbols of integrity and righteousness, Atticus Finch, in a way made even more poignant for today. Told by Atticus' daughter Scout, based on herself, we see a world of pain and inequity through the eyes youthful innocence.

Non-Equity ​​​​​​​Now on tour

This New York Times Critic's Pick tells the story of Michael Dorsey, an out-of-work actor willing to do anything for a job -- even if it means playing way against type. When he disguises himself as an outspoken actress named Dorothy Michaels, he defies all odds to become a Broadway sensation. But as audiences fall for Dorothy and Michael starts to fall for the woman of his dreams, he's learning that the hardest part of show business isn't getting to the top... it's keeping up the act.

Equity ​​​​​​​Now on tour

Winner of over 50 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz. Long before Dorothy drops in, two other girls meet in the land of Oz. One, born with emerald-green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. WICKED tells the story of their remarkable odyssey, how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good. Declared "The Best Musical of the Decade" by Entertainment Weekly and "A Cultural Phenomenon" by Variety, WICKED is based on the novel by Gregory Maguire , has music and lyrics by Stephen Schwartz , and a book by Winnie Holzman . The production is directed by Joe Mantello with musical staging by Wayne Cilento .

Upcoming Tours

Disney's winnie the pooh: the new musical stage adaptation.

Non-Equity Tour launches January 12, 2023

Disney's iconic Winnie the Pooh, Christopher Robin and their best friends Piglet, Eeyore, Kanga, Roo, Rabbit, and Owl (oh... and don't forget Tigger too!) have come to life in a beautifully crafted musical stage adaptation. Featuring The Sherman Brothers ' classic Grammy Award-winning music with further songs by A.A. Milne , this beautiful fresh stage adaptation is told with stunning life-sized puppetry through the eyes of the characters we all know and love, in a new story from the Hundred Acre Wood.

The Simon & Garfunkel Story

Non-Equity Tour launches January 14, 2023

The Simon & Garfunkel Story is a critically acclaimed concert-style theatre show about two young boys from Queens, New York who went on to become the world's most successful music duo of all time. Using state-of-the-art video projection, incredible lighting, and a full live band, this production is a moving and powerful concert featuring all the hits such as "Mrs, Robinson," "Bridge Over Troubled Water," "The Sound Of Silence," and many more - not to be missed.

Equity Tour launches February 14, 2023

They knew they would make history, but not what history would make of them. Fed up with living under the tyranny of British rule, John Adams attempts to persuade his fellow members of the Continental Congress to vote in favor of American Independence and sign the Declaration. But how much is he willing to compromise in the pursuit of freedom? And to whom does that freedom belong? Direct from the American Repertory Theater at Harvard University and Roundabout Theatre Company on Broadway, directors Jeffrey L. Page and Diane Paulus reexamine a pivotal moment in American history in a re-imagining of the Tony Award®-winning musical 1776.

Into the Woods

Equity Tour launches February 18, 2023

Into the Woods first premiered on Broadway in 1987, winning three Tony Awards including Best Score and Best Book. It has since been produced throughout the world and was adapted into a major motion picture in 2014. This production marks its first time on Broadway in 20 years.

Rain: A Tribute to the Beatles

Non-Equity Tour launches March 3, 2023

RAIN - A TRIBUTE TO THE BEATLES performs songs from Abbey Road & the Rooftop Concert LIVE, in addition to all your favorites hits. This mind-blowing performance takes you back in time with the legendary foursome delivering a note-for-note theatrical event that is the next best thing to seeing the Beatles. Experience the worlds' most iconic band and get back to where you once belonged with RAIN - A TRIBUTE TO THE BEATLES.

Equity Tour launches August 1, 2023

He is one of the greatest entertainers of all time. Now, Michael Jackson 's unique and unparalleled artistry has finally arrived on Broadway in a brand-new musical. Centered around the making of his 1992 Dangerous World Tour, and created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage , MJ goes beyond the singular moves and Signature Sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Jackson into legendary status.

Learn More Here

Equity Tour launches September 9, 2023

This bittersweet comedy is the story of the indomitable Fanny Brice , a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she'd never be a star, but then something funny happened-she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway. Featuring some of the most iconic songs in theatre history including "Don't Rain On My Parade," "I'm the Greatest Star," and "People," Michael Mayer 's bold new production marks the first time Funny Girl has returned to Broadway since its debut 58 years ago.

The Kite Runner

Equity Tour launches in 2024

One of the best-loved and most highly acclaimed novels of our time, THE KITE RUNNER is a powerful play of friendship that follows one man's journey to confront his past and find redemption. Afghanistan is a divided country and two childhood friends are about to be torn apart. It's a beautiful afternoon in Kabul and the skies are full of the excitement and joy of a kite flying tournament. But neither of the boys can foresee the incident which will change their lives forever. Told across two decades and two continents, THE KITE RUNNER is an unforgettable journey of redemption and forgiveness, and shows us all that we can be good again.

​​​​​​​Jersey Boys

JERSEY BOYS is the international musical phenomenon that takes you behind the scenes - and behind the music - of Frankie Valli and The Four Seasons. No wonder that for over 15 years, New York's favorite musical is the one about the boys from Jersey.

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Equity Tries to Influence Show Tours

By Patrick Healy

• Nov. 25, 2014

CHICAGO — Some of the sets looked flimsy, the acting was uneven, and the signature red wig needed bounce. But none of that mattered to Lilly Hickman, 6, as she watched “Annie,” presented here by Broadway in Chicago, a booker of national musical tours.

Lilly burst into applause after “Tomorrow,” and she giggled like other kids in the majestic Cadillac Palace Theater when the evil Miss Hannigan croaked, “How nice,” after learning that Daddy Warbucks wanted to adopt Annie.

“This show makes me so happy!” said Lilly, who is missing all her front baby teeth but is old enough to have saved 37 Playbills from other musicals. “I love Annie because she’s like me.” How so? “Really smart!” she said.

When a child is this giddy, does it matter that the production is nonunion, lacking much of the panache of a Broadway-caliber show — even if the tickets (topping out at $142 for “Annie”) are Broadway-caliber prices?

Persuading audiences to care is at the heart of an unusual new crusade in Chicago that may soon spread to other big theater towns. Actors’ Equity Association, the union for performers on Broadway and at theaters nationally, began an online publicity campaign in September to educate people about the differences between Equity tours and cheaper nonunion tours, in hopes of pressuring bookers to present more of the Equity type and that way increase the number of union jobs.

The 50,000-member Equity has spent a low five-figure sum on the campaign, chiefly to buy online ads that encourage people to ask ticket sellers and others if productions are Equity tours. The ads pop up on Hot Tix and other Chicago ticketing websites, as well as on popular blogs like The Chicago Tribune’s Theater Loop .

“The word ‘Broadway’ gets used a lot by touring shows in cities across the country, but some of them have nothing to do with Broadway — so why are audiences paying as much for them as they would for Broadway shows?” said Mary McColl, the executive director of Equity. “I think a lot of audience members are discerning, and we’re asking them to vote with their feet.”

The campaign is partly a response to the continuing threat that Equity leaders see from nonunion tours : There are about 20 moving around the United States at any one time, compared with about 25 Equity tours. Equity once had a bigger share of the market, but the growing expenses of producing shows — and the unpredictability of ticket sales — have led to more lower-cost nonunion tours.

Equity tours are typically based on recent Broadway productions, and actor salaries range from $550 to $1,850 a week, plus per diem. Nonunion tours usually come with lower salaries, smaller production budgets and frequent travel days among cities; they are often based on older Broadway productions (like “Annie”) or are unrelated to Broadway, like the “Evil Dead” tour that also ran here this fall .

Equity officials have no way to independently confirm that Chicago theatergoers are skipping nonunion shows as a result of the campaign, nor have they seen signs that bookers are turning against nonunion tours. But the union says it has had 12,000 unique visitors to the campaign’s website since late September — better numbers than expected — and its leaders will decide in the coming weeks about whether to expand the campaign beyond Chicago.

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Executives at Broadway in Chicago, as well as at Troika Entertainment, the producer of “Annie,” did not return phone calls and email messages seeking comment over the past week. Two cast members of “Annie” said via email that they were told by the producer not to grant interviews about the Equity campaign.

Martin Charnin, the director of “Annie,” said he believed the distinctions between union and nonunion shows were misleading. He decided to mount a nonunion tour of “Annie” (a show that was also on the road in the early 1980s and through much of the past decade) after the recent Broadway revival of the show — a $12 million Equity production — was a critical and commercial disappointment .

“I’ve worked with brilliant Equity actors, terrible Equity actors, brilliant nonunion actors, terrible nonunion actors,” said Mr. Charnin, who directed the original “Annie” on Broadway and wrote the show’s lyrics. “What matters most is the way audiences respond.”

Some actors have complained to Equity that the campaign is insulting their fellow performers, who are often fresh out of school and getting big breaks in nonunion tours. (Equity actors cannot perform in these nonunion shows unless they resign from the union; if they do, regaining membership can be a long shot.) While the two “Annie” actors declined to comment, David Sajewich, an actor in “Evil Dead” in Chicago, said he sympathized with Equity.

“I think it’s a smart campaign, a union trying to protect its members,” said Mr. Sajewich, who is 25 and hopes to join Equity after the tour. “ ‘Evil Dead’ was right for me because it was a lead role and really well-paying. And I think it’s a good show.”

Corey Ross, the producer of “Evil Dead,” said in a statement that he was “very proud” of the musical and had never billed it as a “Broadway tour,” though it was presented in the Broadway in Chicago series of shows.

The campaign may end up mostly being a morale boost for Equity actors, who have been increasingly upset about wages on Equity tours and the proliferation of nonunion tours.

“I think nonunion tours that are enticingly packaged as Broadway are a bad thing for the New York entertainment industry and Broadway,” said Josh Young, who starred in the recent Equity tour of “Evita” and was also in the Equity musical “Amazing Grace” in Chicago this fall. “For the health of my industry, some sort of clear labeling needs to be in place — then let the consumer decide. If it’s not union, it’s not Broadway.”

The challenge for Equity became clear in interviews with audience members at “Annie,” like the families who felt that the delight of Lilly and other children was well worth the ticket price. And several quality-minded theatergoers were skeptical that Equity’s stamp was a decisive factor in their enjoyment. Robin Monsky, who has been seeing Broadway musical tours in Chicago for 20 years, said she had been unimpressed with the recent Equity run of “Jekyll & Hyde” in Chicago, while she enjoyed the nonunion production of “American Idiot.”

As for “Annie,” she said some of the production elements were cheap — the orphanage windows were painted, not glass — and some actors better than others, but the same could be said of many shows, union and nonunion alike.

“As long as they’ve delivering the performances I want to see, I don’t feel ripped off,” Ms. Monsky said.

Entertainment | How much does that touring actor make?

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Entertainment.

One of the more interesting and perhaps lesser noticed changes in show business these last few years has been the transition of touring shows away from fixed salaries to compensation models based on how many seats are filled.

Not so long ago, back in the glory of the early 1990s when multiple companies of “The Phantom of the Opera” convoyed across the Midwest, most touring Broadway shows offered actors production contracts, which meant financial rewards and working conditions that mirrored those on Broadway. In fact, for your average Broadway actor (especially the younger and freer variety), going on tour with a show could mean a more attractive deal than in New York. On the road, actors got nice per diems with no obligation to spend all that money if they could stay with friends. They could live on their per diem and bank the salary.

The production contract, the holy grail for actors, still exists in touring theater. But it’s limited to a very small number of massively successful shows: “Wicked,” “Jersey Boys,” “The Lion King,” “The Book of Mormon.” That’s about all. Those shows pay their actors minimum salaries of $1,754 per week — and in practice, closer to $2,000, given the various add-ons for understudying and the like. But almost every other Equity show on the road — “Peter Pan,” “Priscilla Queen of the Desert,” even “Les Miserables” — operates under a different contract with a far lower minimum salary for actors. Under the now-common contracts called short engagement touring agreements (or SETAs), salaries are less than half the full rates.

With a kick. If the show sells well, the actors get “overages,” a revenue-sharing deal that increases when shows have recouped their production costs.

“We had to recognize that the economics of the touring business have changed,” said Mary McColl, the executive director of Actors’ Equity, over lunch recently in Chicago. McColl was explaining that the new contracts were an attempt to prevent shows from going the non-Equity route — not that the effort was totally successful, given that “Catch Me If You Can,” which arrives in Chicago in a few weeks, is touring with a non-Equity cast. But McColl also noted that the new contract had stopped the producers of “Billy Elliot” (which operated under a production contract while it was in Chicago) from turning their tour into a non-Equity show. Perhaps the producers also understood the signal that would send — given that the show is about the struggle of a union.

McColl also said that her members can do very well under the SETA and other concessionary deals when a show is hugely successful. When “Les Miserables” was in Chicago last fall, for example, box-office returns were so strong that the actors got, McColl said, compensation “comparable to the production-contract rates.” Nonetheless, that is not always the case.

Actors from “Peter Pan,” for example, were chagrined to see some empty rows during their Chicago run, being as this cut their paychecks from the overages they had been enjoying in less competitive cities. If you are touring with Cathy Rigby, you have a vested interested in putting the proverbial butts in the seats to see her fly.

What does this mean for you, the audience?

Well, it’s overly simplistic to say shows that offer performers production contracts are going to get better actors; art is not that easy to categorize. And you could argue that actors with skin in the game work harder, just like any other employee with a profit-sharing incentive. But in most professions, the higher-paying gigs attract the bigger talents, and theater is no exception. It has been a while since I’ve seen the touring cast of “Wicked,” but I sure know that the creative team of that show has a wide pool of talent from which to choose. Production contracts are now rare on the road. Economic logic would suggest that those performers would, in very general terms, be the cream of the crop.

Of course, there is no adjustment in ticket price based on any of this. The type of Equity contract is not the kind of thing presenters like advertising. I try to point out when shows feature nonunion casts (the upcoming return visit of “American Idiot” being one), not because non-Equity actors are not worth seeing (many prove to be excellent) but because you will not be seeing anyone with Broadway experience. In the future, it might be worth noting what kind of Equity contract we’re talking about, so you can judge that too.

And if you think Chicago theater, where love usually matters more than money, is immune from this issue, you’d be wrong. It’s not unknown in the off-Loop scene for the very small stipends of non-Equity actors to become payable only when the box office hits its target.

[email protected]

Twitter @chrisjonestrib

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salaries: tours...broadway....

shomeika Profile

Stand-by Joined: 6/24/08

#1 salaries: tours...broadway....

I saw a thread here a while back, and have searched and cannot find it. I am curious about how the dollars and cents of a production goes......sit down production vs. tour.......if a cast member is absent, do they still make salary, or are they commissioned on a "by appearance" basis? Do tour cast make same or more than a long time Broadway show, for instance? Would appreciate any input...

CapnHook Profile

Broadway Legend Joined: 5/12/03

#2 salaries: tours...broadway....

If a performer is a part of the union (AEA - Actors' Equity Association) then they have to make the minimum weekly salary as per the production contract. There are different type of production contracts (ie Broadway, Tour, etc.) and there even differences within each category of production contract. If you search the AEA website, you can read what the minimums are. For Broadway, you'll look at the Equity/League Contract.

dramamama611

Broadway Legend Joined: 12/4/07

Just like any full time job: they get a certain number of sick days and vacation days. (of course the number of these is negotiable like every other contract issue)

Barcelona Profile

Stand-by Joined: 6/17/11

#3 salaries: tours...broadway....

Performers on tour get per diem and technically don't have to pay for housing while they're on tour (assuming they're not paying for a place in their hometown)...does that affect their salary at all?

givesmevoice Profile

Broadway Legend Joined: 12/2/07

#4 salaries: tours...broadway....

Performers on tour get per diem and technically don't have to pay for housing while they're on tour (assuming they're not paying for a place in their hometown)...does that affect their salary at all? If it works the same way on tour as it does on Broadway, it's all considered compensation. That's how Loretta Ables Sayre wound up being one of the highest compensated employees at Lincoln Center while she was in South Pacific.

lightguy06222 Profile

Broadway Legend Joined: 12/3/06

#5 salaries: tours...broadway....

^^^ please expand on why she was the higest paid? was she getting per diem's and $$ towards accommodation because she is not local?

#6 salaries: tours...broadway....

That was my understanding of what I read on their 990s.

Dave13 Profile

Broadway Star Joined: 6/4/11

#7 salaries: tours...broadway....

If this is true, the performers on tour are really getting screwed. This might be true for the lower budget tours, but I would think any legitimate show on tour would pay for hotel accommodations. If I am not mistaken, all of the performers usually stay at the same hotel. Oftentimes these hotels are $100+ per night. Not sure how the lower paid performers could pay $100+ 30 nights a month. Also, I would think the tour company would want to keep morale high on tour and keep the performers together in nice accommodations. As long as the performers are not being paid directly for their accommodations in which the tour pays the hotel directly, not sure how this could be included as income. Regardless, the actors should be entitled to a deduction as either a business expenses or un-reimbursed business expense. To include it as income is wrong.

#8 salaries: tours...broadway....

Regardless, the actors should be entitled to a deduction as either a business expenses or un-reimbursed business expense. To include it as income is wrong. It's not considered income, but on the company's tax forms, it's all part of compensation. There are parts later on the tax forms where each expense is explained, and there's even a section for housing and accommodations.

#9 salaries: tours...broadway....

Different actors have different standards regarding where they would like to stay when they are on tour. from my experience, each cast member is allotted $100/night for a hotel room. There are usually rooms in more than one hotel available. Lets say 4 star hotels are $200/night. Most often actors choose to bunk up with friends, so they can stay in the 4 star hotel room that has two queen beds, and all their costs are covered. If they are the STAR of the show, they may have it in their contract that they need their own rooms, and more $$ per night. If they are not the star, but want their own room, often, they fork over their money to pay the difference. Or if the 3 star option has rooms for $100/night, you can afford your own room. Or bunk up with a cast mate, and pocket $50/nightly. If the tour is stopped in your home town, and you choose to stay with your family, you are STILL given $100/night, as part of your contract. That money all goes into your pocket. If your family has enough guest rooms for 3-4 cast mates to stay with you too, then THEY all pocket their money too. Same goes for food. $X/day. If you spend it all, its gone. if you eat carrots and string cheese all day, you save money. EDIT: all the NUMBERS in this post are guesstimations. Each contract is different for each actor, and each touring company has different standards, and different prices. Updated On: 7/7/11 at 11:31 AM

Broadway Legend Joined: 10/6/04

#10 salaries: tours...broadway....

I would like to know what all the Shrek actors from every production got paid

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Broadway Drumming 101

The Pros and Cons of Touring With A Broadway Musical

It can be a great experience but...out of sight, out of mind..

Photo by Joshua Hanson on Unsplash

My introduction to the world of Broadway shows began in the spring of 2000. I was asked to be the drummer for a production of a show called 'Footloose.' The show had long closed on Broadway and was scheduled for a bus and truck tour across the United States. The first stop was a three-month sit-down at the Rio in Las Vegas.

I had no idea what to expect. In my previous seven years in New York City, I was used to dragging my drums all over town, playing with whatever band or artist that would have me. I made anywhere from zero dollars per gig to about $100. I think there may have been times when on occasion, I would play a wedding here or there and make a whopping $400. I loved those gigs. The crazy thing is that some bands still pay musicians $400 for a four-hour Saturday night in 2022. I find that shameful. But I digress.

Playing many styles of music and, of course, being familiar with the tunes from the original movie soundtrack of Footloose helped, but the hard work I put in helped me get ready for what was to come.

I had a ball from the very beginning. I learned quickly how to follow the conductor, play on time, and work with the Vegas musicians and the others who would eventually go on the remaining months of the tour. Not only was I getting a substantial raise from my freelance days in New York, but I also didn't have to move my gear from place to place. It was all there, set up, ready for me to get in and get out without lifting a finger. In addition, I was in Las Vegas, had a room in a long-term apartment rental near the strip, and I got to be away from the nasty weather back east. How could things be better?

Well, it did get better, at least for me.

My mother, who traveled in a car from California to Connecticut when she was younger, told me that when you start traveling, you'll see how America is "God's country!" It was her way of telling me that our country is vast, beautiful, and something worth seeing. I didn't know what she meant until I saw with my own eyes just how incredible the continental United States truly is.

The Vegas production of Footloose ran for three months in the summer of 2000. We then began a ten-month bus and truck tour of the show. We started in Schenectady, NY, and traveled across the country's northern section. Later, we moved down the west coast into the country's southwest, and a few months later, we trekked through the deep south. I'll never forget seeing cotton fields, extreme poverty, and some of the most extensive farmland ever. We wound up back north, but I left the tour early because I was asked to be in a new show called Tick, tick...BOOM!

I knew how special this time was for me. I was finally receiving a steady paycheck from playing drums for a living. I didn't have to drag drums around any longer. And, as a bonus, I could travel across the entire continental USA on someone else's dime! I felt like I had hit the jackpot.

My love for travel began during this time in my life. Seeing the mesas go by in New Mexico and Arizona was fascinating. Taking in the long stretches of road in Pennsylvania and Texas, visiting small towns like Peoria, Illinois, Boise, Idaho, Fresno, California, and when time permitted, on our off days, I visited bigger cities like San Francisco, Chicago, New Orleans, Dallas, Richmond, and Orlando. It was exhilarating.

The steady money I earned over this period allowed me to pay off my student loans and get a little ahead financially since I had no place to call home. Getting a sense of what the people and land were really like outside of the east coast was an eye-opener for me as well. I gained a deeper appreciation for the sheer vastness of this land and the incredible variety of people who inhabit it.

I also met so many great people on the road. I especially loved going to places many might call "real America." Some people on the coasts might call it 'fly-over country,' but I find the Americans who live in the middle to be some of the most down-to-earth humans I've ever met. They are often more interesting to me because their conversations aren't superficial. Upon meeting someone new, one isn't bombarded with the ubiquitous "What do you do?" question. Instead, many simply ask, "How are you?"

While all of that is the plusses of going on a tour of a Broadway show, there are some downsides.

Productions generally play in smaller markets on a bus and truck tour. I played in college towns, cities with small populations, and cities that are somewhat close to larger ones but far enough away to warrant a theater of its own. You'll most likely be setting up your drums in each place you perform. The stagehands will bring your kit into the pit and set them up to some approximate representation of what a non-drummer thinks a kit should look like; then, you will finish the process to your liking before soundcheck that afternoon. This is still better than dragging drums around town, but it isn't always fun when you get up early that morning because you have to travel six hours to get to the theater you are working in that evening.

You'll do a few one-nighters on a bus and truck tour. This can be brutal. Things are much better when you have a two or three-day sit down in one theater. They are even better when they are week-long sit-downs. If they are longer than that, you are sitting pretty!

In 2000, there was no such thing as social media. You couldn't post where you were at all times of the day and night, what theaters you were in, and when you would be back in town. Yes, you could call people, send emails and write letters, but generally, if you were gone for long periods, you were 'out of sight/out of mind' for those with whom you used to work within your hometown. People knew you were working on a tour, which generally meant you weren't accessible for gigs in town. Bandleaders would call the next person for whatever gig you used to have.

Today, you can keep in touch in a multitude of ways. That still doesn't necessarily solve the problem of being away. I would argue that the pros of doing a tour of a show outweigh the cons, especially if you are young, have no spouse or kids, or any real responsibilities. Plus, you get a chance to see the country, get paid regularly, and get some experience playing a musical. All is not lost while on the road.

My first show in New York, and everything that followed, was because I gained valuable experience playing in Footloose and returned to be a part of an Off-Broadway classic musical ( which is now a movie ). Being part of Tick, tick...Boom! subsequently led me to sub for Jeff Potter at Rent since they had a little something in common. Subbing at Rent helped land me opportunities to work on other musicals. A few years later, I had other shows of my own.

I didn't write about first national tours because I haven't been asked to do one. I do know many drummers who have done them. I understand those gigs pay well. Performers are given a per diem which helps pay for housing and food expenses, and the shows run much longer in big cities on first national tours.

The closest thing to a first national tour for me was when Ain't Too Proud finished its run at Berkely Rep in California. At the time, there were no empty theaters for us to move into back in 2017, so the producers decided to take the show on the road. We played six weeks in Washington DC, Los Angeles, and Toronto in 2018 before we moved into the Imperial Theater on Broadway in 2019.

These three cities were great. Well...DC wasn't for me; I take that back. There was some dark energy hovering over that city in 2018. It's probably still like that. I won't be back there any time soon.

For more on a first national tour, check out the interview I did with Q Robinson, the drummer for the first national tour of Ain't Too Proud HERE:

If you are genuinely interested in playing drums on Broadway, you can gain invaluable life and professional experience by going on a tour. It's worth every minute if you take advantage of the opportunity.

You can write to Michal Aarons and Michael Keller to see if any positions are open for new tours. They are ALWAYS looking to hire great drummers. Check out their site here and listen to Michael Keller give his advice on what to do HERE:

To register with M-Squared Music for possible tour work, and other Broadway opportunities, sign up HERE: https://www.m2music.nyc/contact-us

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Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter . He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM! , Altar Boyz ,  Memphis The Musical , Lady Day At Emerson's Bar and Grill and Ain’t Too Proud .

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