STA Equity

Section 1 | Overview

Please note that all performers, understudies, and Stage Managers on contract with Student Theatre Alliance Equity (STA Equity), such as actors, directors, producers, designers, SMs, and ASMs, will be known hereafter as Artist(s). 

Section 2 | Arbitration

1. Any controversy arising from the application or interpretation of this agreement shall be submitted to arbitration. 
2. Before proceeding to arbitration, either party may submit the dispute for review and possible resolution by the STA Chair. Should the STA Chair fail to resolve the dispute, either party may submit the same dispute to the STA Faculty Advisor. Notwithstanding the foregoing, STA Equity may decide to waive the grievance procedure and proceed directly to arbitration. 
3. Arbitration, as provided herein, shall be the exclusive remedy for the resolution or adjustment of disputes, including any question as to whether a dispute or issue is subject to arbitration under the provisions of this Agreement. 
4. Nothing herein shall be construed to give the arbitrator the authority to alter, amend, or modify any of the provisions of this Agreement. 
5.  The Council of STA Equity has the right on behalf of their respective constituencies to determine the interpretation of the Agreement which shall bind their respective organizations and members. 

Section 3 | Contract

1. FILING CONTRACT.
   1. No Artist shall begin work practices unless a standard form of contract has been filed with STA Equity. Artist contracts for performers and understudies will be issued by or on the first rehearsal of each production. Artist contracts for all other positions will be issued within five business days of an artist being assigned to the production. 
2. COMPLETING CONTRACTS.
   1. The Presenting Organization agrees that all blanks, including opening date, name of part, and required start date, will be filled in by the appropriate student presenting organization before being delivered to or signed by the Artist. 
   2. An Artist may be assigned no more than four (4) job assignments (excluding bit parts) in a production in which they may be performing. Job assignments may include performing parts understudying parts, or functioning as fight captain.
   3. All concessions or waivers requested by the Presenting Organization shall be submitted to STA for approval prior to being granted. They shall then be made known to the actors and Stage Manager at the time of audition, interview, or initial contact if feasible. 
3. ATTEMPTED BREACH.
   1.  No STA Equity member nor the theater shall cause or attempt to cause or agree to permit, any breach of any term of their STA Equity Contract. 
   2. Should any Equity member engage in such conduct, they shall be subject to such disciplinary action as STA may determine. 
4. ACTOR CLOTHING AND COSTUMES.
   1. Actors are responsible for the maintenance of their own modern and conventional hair style and color as it appears at the time of an official offer in writing. The producer is not responsible for such routine maintenance. 
   2. The Actor may not be required to change the color of the Actor’s hair unless the Actor agrees in writing, at which time the Producer of the specified production shall establish whether or not they will be able to pay for the expense of changing the color and of its upkeep during the run.  
   3. The Actor may not be required to cut or change the style of the Actor’s hair in any way, or to shave the Actor’s head unless the Actor agrees in writing. 

Section 4 | Discrimination

1. There shall be no discrimination against any Artist or applicant by reason of race, color, creed, sex, gender identity, national origin, sexual orientation, age, disability, political persuasion, or belief. A claimed violation of this section, unless satisfactorily resolved by STA, shall be submitted to arbitration. In the event the arbitrator determines that discrimination has been practiced, they shall have the authority to direct reinstatement. 

Section 5 | Duties of the Actor

1. The Actor agrees to be prompt at all calls including but not limited to rehearsals, costume fittings, photo calls, half-hour, and any other calls prior to a performance; to appear at the theatre no later than the established half-hour time stated by the Stage Manager prior to the performance; to pay strict regard to makeup and dress; to perform their services as reasonably directed and sustained by the Stage Manager, and to conform to the language of the script to the best of their ability; to properly care for their costumes and props; to respect the physical property of the production and the theatre and to abide by all reasonable rules and regulations of the theatre which are not in conflict with the provisions of this Agreement.
   1. Repeated lateness or other infractions of the STA Equity rules shall subject the Actor to disciplinary proceedings, in accordance with the Constitution and STA Equity, and the incident will be forwarded by an authorized Student Theater E-Board member to the STA Chair. 
   2. The Presenting Organization shall have the right to require an Actor who is late for any call to make up the time of that call on overtime hours. This time may be seen as extra rehearsal outside of the regularly scheduled work week or additional strike or load-in hours.
   3. In addition to attending rehearsals and performances at the scheduled time, actors are often required to attend other meetings and appointments. Other meetings and appointments include but are not limited to, costume fittings with the costume shop, vocal and dialect sessions, acting, singing, combat, and intimacy coaching. Actors must be on time and prepared for all meetings and appointments. These meetings or appointments shall be limited to two hours per week outside of rehearsal hours. 
   4.  Failure to comply with this aspect of your actor responsibilities may result in disciplinary action from the Student Theatre Alliance.
2. In the event of repeated lateness or other infractions of STA Equity rules, the Actor shall meet a committee which may consist of the Company Manager, Stage Manager, Director, and the STA Vice Chair.
   1. This complaint must be submitted, in writing, to the STA Vice Chair who shall schedule and facilitate this meeting.
   2. Meetings of the committee shall not be held during rehearsal hours.
   3. The Actor complained of must be called to appear in person before the committee, and the complainant shall be present, if possible. 
   4. The committee shall read the complaint to the Actor, question them as to the validity of the complaint, and hear their reasons and any other statement they wish to make. 
   5. Before the committee begins discussion of the complaint and the responses, the parties shall be dismissed so that the committee can discuss the testimony. 
   6. If, after weighing carefully all the statements and replies, the committee finds the complaint unsubstantiated, or the excuse or reasons in response to the complaint to override the complaint, the committee shall dismiss the complaint and notify the parties. 
   7. If, after weighing carefully all the statements and replies, the committee finds the complaint substantiated, they shall immediately submit their recommendation to the STA Vice Chair and to SEAL for final action in accordance with Standing SEAL policies regarding discipline.
      1. The above rule shall also apply to Directors, Stage Managers, Music Directors, or any form of choreographer or creative position-holder on the production (ie: fight or intimacy). 

Section 6 | Dance Captain

The Dance Captain must be assigned from within the company no later than two (2) weeks prior to the first public performance. If the Choreographer is an Actor in the production they may serve as Dance Captain. 

Section 7 | Inclusive Casting

STA recognizes the need for expanding the participation of a variety of gender identities, ethnic minorities, and Actors with disabilities in their artistic process. Toward that end, STA Equity reaffirms its commitment to non-discrimination and a flexible, imaginative casting policy, known hereinafter as Inclusive Casting, in all its Theatres.

1. Inclusive Casting shall be defined, for the purposes of this Agreement, as the casting of all racial identities or a variety of gender identities, Actors in roles where race, ethnicity, disability, or sex is not germane. 
2.  STA Equity will encourage its members to actively solicit the participation of all racial identities in the casting process. 
3. In furtherance of the foregoing policy,  STA Equity recognizes that all roles where race, ethnicity or gender identity is not germane shall be open to Inclusive Casting. 

Section 8 | Nudity

Any production with nudity shall be subject to prevailing rulings by the STA Representative Committee with regard to auditions, performance and photographs. 

1. AUDITIONS.
   1. At the time auditions are posted, notice of nudity within a play, what character(s), type, and the amount of nudity will be also be posted. Nudity added later in the process is subject to the consent of the actor. 
   2. Nudity will not be permitted during auditions or callbacks. 
2. REHEARSALS.
   1. No persons other than the Director, Stage Management, Intimacy Director, and Actors required for the scene(s) containing nudity, will be allowed in the rehearsal room during rehearsal of said scene. This rule pertains to when actual nudity is being used and not when Actors are using rehearsal clothing to simulate nudity.
3. FILMING AND PHOTOGRAPHY.
   1. No filming or photography of nudity is allowed without explicit, written consent from the Actor(s) in the scenes containing nudity. This request shall be submitted to the STA Chair for review prior to filming. 

Section 9 | Program and Cast List

1. A free cast list shall be available to all patrons at each performance. It must contain a listing of all Actors, together with their roles and/or functions. 
2. In the event that there are errors or omissions in the printed cast listing in the program (including understudies who wish to be listed), the Presenting Organization agrees, upon receipt of notice of an omission or error in such cast listing, it will, within twenty-four (24) hours (including at least one (1) business day), correct the error in the program.
3. CHANGES IN CAST.
   1.  All understudies and their roles must be listed in the program. 
   2. When an Understudy takes the place of a Principal Actor in a production, or any Principal Actor is replaced by another Actor, except in an emergency which occurs at or after half-hour, in which case an announcement shall be made from the stage, an announcement to this effect shall be made in at least two (2) out of the following three (3) ways:
      1. Through a change to the program. 
      2. By means of an announcement from the stage. 
      3. By means of a sign conspicuously and prominently posted at the place where tickets of admission are collected. This sign shall be at least eight (8) by ten (10) inches in size, with letters at least one (1) inch high. 
4. Unless STA Equity shall otherwise order, the Presenting Organization shall not unreasonably require the Actor to alternate with an Understudy or a successor, and if replaced by either without the Actor’s consent, they may not be thereafter required (unless STA Equity otherwise orders) to act again in the part or to report to the theatre for that purpose. 
5. However, an Actor may agree in a rider to their contract to alternate performances with another Actor. Notice that a role is being performed by more than one (1) Actor must be stated in the program and the Actor performing must be properly identified. 
6. The Presenting Organization shall be responsible for tracking all contributors to a given production and for acknowledging them in the public program that is distributed.

Section 10 | Property

1. The Presenting Organization shall reimburse the Actor for all loss and/or damage to their property used or to be used in connection with a production or productions. If the Organization provides facilities for the safekeeping of the Actor’s personal valuables, jewelry, and/or cash, not used in the production, while said articles are in any theatre, the Organization shall be liable for loss and/or loss and/or damage only if said personal valuable, jewelry, and/or cash are given to the Organization or its agent for safe-keeping. In this regard, the Organization agrees to provide facilities for the safe-keeping of said articles.
2. Except as above provided, the Organization shall not be responsible for any loss and/or damage to the personal property of the Actor, over and above the limitations herein set forth, and whereas to such property it is the duty of the Actor if they desire to protect themselves against loss to insure the same. Similarly, the Organization is not responsible for the reimbursement of the Actor’s personal valuables, jewelry, and/or cash if said valuables were not used in the production. Upon the direct payment of any damage or loss to the Actor by the Organization, the Organization or the Insurer shall be subrogated to all rights of the Actor to the extent of such payment. In the event that this happens, an authorized representative from SEAL will make the final call over the method of repayment, reimbursement, or subrogation.

Section 11 | Rehearsal, Performance, and Other Work-Related Rules

1. WORK WEEK AND WORK DAY.
   1. A week shall mean from and including Monday through the end of Sunday. During non-performance weeks, the total work week shall not exceed thirty (30) hours, of which no more than twenty-seven (27) hours shall be allotted to rehearsal. 
   2. In the seven (7) days prior to the first public performance, the total work week shall not exceed forty-two (42) hours. The forty-two (42) hour work week shall fall either in the last full week of rehearsal or the week of the first public performance, but not both. 
   3. During combined rehearsal and performance weeks, the total work week, including but not limited to performances, rehearsals, costume calls, photographs, understudy rehearsals, and brush-up rehearsals, shall not exceed forty-two (42) hours. 
   4. Weather, school closures, and other factors may impact our ability to hold a rehearsal, technical rehearsal or performance. The Producer will look at these situations on a case-by-case basis and determine the best way to meet the educational goals of production while maintaining health and safety standards. 
2. PERFORMANCES.
   1. All Actors are required to be at Strike for at least three (3) hours or until dismissed, whichever comes first. 
   2. There shall be no more than two (2) performances in any day nor more than five (5) performances in any three (3) day period. The total number of hours worked on a two (2) performance day, including half-hour, shall not exceed nine (9) hours. 
   3. There shall be no more than six (6) performances in any week. Notice of the regular performance schedule and any additional performances known by the Theatre shall be posted at the Theatre’s announced auditions. 
   4. The Actor shall be notified of any change of the performance schedule at least two (2) weeks in advance, except in an emergency when a shorter notice period agreed to by a majority of the cast shall be permitted. 
3. REHEARSALS.
   1. On non-performance days, rehearsal shall not exceed seven (7) out of eight (8) consecutive hours. The Company shall receive no less than twelve (12) hours’ notice of the span of each rehearsal day. 
   2. On one show days:
      1. If the performance is three and one-half (3 1/2) hours or less (including half-hour), rehearsal shall not exceed two (2) consecutive hours.
      2. If the performance is over three and one-half (3 1/2) hours (including half-hour), rehearsal shall not exceed one and one-half (1 1/2) consecutive hours.
      3. If the performance is over four (4) hours (including half-hour), rehearsal shall not exceed one (1) consecutive hour.
   3. On two show days:
      1. If the performance is three and one-half (3 1/2) hours or less (including half-hour), rehearsal shall not exceed ninety (90) consecutive minutes.
      2. If the performance is over three and one-half (3 1/2) hours (including half-hour), rehearsal shall not exceed one (1) consecutive hour.
      3. If the performance is over four (4) hours (including half-hour), rehearsal shall not exceed thirty (30) consecutive minutes.
         1. NOTE: Timing is dependent on the forty-two (42) hour work week rule as outlined in Section 11.A.b
   4. During the Technical Rehearsal Process:
      1. Depending on the availability of the space, the technical rehearsal process is subject to time-space limitations. Given this situation, the two (2) days of rehearsals leading up to the first public performance may require Artists to continue work after a scheduled End of Day call. This may be done with the consent of the actors, where this extension past the scheduled End of Day will be considered optional 
   5. A six-hour rehearsal block may be utilized provided the following conditions have been met:
      1. Provided there has been a ¾ majority secret ballot vote by the cast at the first rehearsal, the Theatre may schedule one six (6) hour rehearsal day on either Saturday or Sunday or a day on which no classes are scheduled and may add two (2) additional hours in one (1) hour segments for photo and/or costume calls. 
      2. On a six (6) hour rehearsal day, there shall be a one (1) hour meal break between rehearsal and the photo/costume call unless the actor requests no break be given. 
      3. Within the six (6) hour rehearsal block, regular Equity breaks shall occur every 55 or 80 minutes. Additionally, a twenty (20) minute break is required for a total of forty (40) break minutes during a six (6) hour rehearsal span. 
   6. On a non-performance day during the seven (7) day period prior to the first public performance of a production, the Theatre may schedule no more than two (2) days of rehearsal of eight (8) out of nine and a half (9 1/2) consecutive hours for each production. 
   7. During tech, rehearsals must be consecutive except for a break of one and a half (1.5) hours after no more than five (5) consecutive hours of work.
4. COSTUME CALLS, PHOTOGRAPHY, AND PUBLICITY.
   1. In addition to rehearsal time, but within the maximum hours of the work week as outlined above, the Presenting Organization may schedule a combined total of no more than six (6) hours for costume and/or photo calls per production per actor per production.  
   2.  Costume calls must be calculated in segments of no less than one-half (1/2) hour. 
   3. Costume fittings are scheduled according to the designer’s and actor’s collective schedules. All actors will be scheduled for a minimum of two (2) required fittings. It is the Actors’ duty and responsibility to provide available hours for scheduling fittings and to arrive on time for such fittings.
5. BREAKS, REST PERIODS, DAYS OFF.
   1. There shall be a break of no less than one (1) hour after no more than five (5) consecutive hours of work, except during tech when the break shall be no less than one and a half (1 1/2) hours. 
   2. Except during run-throughs and dress rehearsals, there shall be a break of five (5) minutes after no more than fifty-five (55) minutes of rehearsal or ten (10) minutes after no more than eighty (80) minutes of rehearsal for each member of the company. During non-stop run-throughs, there shall be a break of not less than ten (10) minutes at the intermission point(s). 
   3. There shall be no less than a twelve (12) hour rest period between the end of employment on one (1) day and the beginning of employment on the next day, except prior to Student Matinee performances (and for strike). 
   4. There shall be a ninety (90) minute rest period including half-hour, between performances. The Presenting Organization may reduce this period to no less than one (1) hour including half-hour, provided both performances are of the same play, and provided a meal is served to the cast and crew at the Organization’s expense. The sixty (60) minute rest period will begin from the time the meal is delivered. 
   5. During non-performance weeks, there shall be two (2) scheduled full days off each week free of rehearsals and/or performances. A full day shall be twenty-four (24) hours in addition to the regular rest period required at the end of each working day.
   6. Of the two (2) full days off, one must occur on a weekday and one on a Saturday or Sunday. In the week prior to opening and the performance week, no weekend day off is required. 
   7. In the last seven (7) days of rehearsals, performances, and strike, there may be no days off. 

Section 12 | Eating and Smoking Areas

1. SMOKING AREAS.
   1. Emerson College Campus Buildings are non-smoking. Smoking is only allowed outside of said buildings. 
2. EATING AREAS.
   1. In theaters and rehearsal areas where eating is permitted, areas shall be designated by the Presenting Organization as eating areas, and eating shall not be permitted outside said areas. 
3. UNDER NO CIRCUMSTANCES IS EATING OR SMOKING WHILE IN COSTUME ALLOWED. 

Section 13 | Secret Vote

1. Should a situation arise where the Theatre wishes the company to consider a proposition not covered by the standard STA Equity contracts of Work Practices or  STA Equity rules, they shall notify the Deputy and the Deputy shall arrange a meeting of the cast. At such a meeting, neither Producer nor their representative shall be present, unless so requested by a majority of the cast. 
2. At all meetings of STA Equity, members of the company called by the Deputy or the Stage Manager, all votes shall be by secret ballot. 
3. Any proposed action by the cast shall not, however, be binding without the written approval of STA Equity. Decisions made by the Council of STA Equity regarding the outcome of company votes are final and binding. 

Section 14 | Stage Fighting and Intimacy

1. If the Fight and/or Intimacy Director or Choreographer is not present during the run of the production, a Fight and/or IntimacyCaptain must be assigned. 
2. All Actors who participate in a fight and/or intimacy shall run through the routine prior to half-hour. Any exception to this rule shall be at the express discretion of the Fight and/or Intimacy Captain and Stage Manager. Such run-throughs are permitted to impinge upon the regular breaks and/or hours. 
3. Principal Actors must rehearse fights and/or intimacy with understudies during regular rehearsal hours.
4. Proper first-aid information and equipment shall be made available to the Fight Captain. 
5. The Fight and/or Intimacy Director or Choreographer and/or Fight and/or Intimacy Captain shall consult with all artistic personnel to achieve the optimum degree of safety.

Section 15 | Stage Managerial Staff

1. STAGE MANAGERS.
   1. A Stage Manager shall be the individual who is assigned to and is primarily responsible for a specific production.
      1. Primary responsibilities include scheduling, running rehearsals, sending daily calls and reports, running tech, calling performances, communicating with directors and designers, as well as working with the Presenting Organization’s Production Manager to hold the production accountable to the STA Equity Rules. 
   2. It is agreed that the Stage Manager’s responsibilities require full-time attention. The Stage Manager shall not function in areas that impinge upon the primary duties of a Stage Manager. 
   3. There must be no less than one (1) Stage Manager assigned to each company or production. 
2. ASSISTANT STAGE MANAGERS.
   1. An Assistant Stage Manager is the individual who is assigned to assist the Stage Manager(s) on a specific production or productions. An Assistant Stage Manager may not be assigned the primary responsibility for a production. No Actor already under contract may be assigned as Assistant Stage Manager in the same production. The first Assistant Stage Manager may not act.
   2. There must be no less than one (1) Assistant Stage Manager assigned to each company or production. This does not include the Stage Manager as described above.
3. WORKING CONDITIONS
   1. Whenever the Actors are called, the Stage Manager or Assistant Stage Manager shall be called. The Theatre shall not require members of the  STA Equity Stage Managerial Staff to absent themselves from rehearsals or performances. 
   2. A Stage Manager or Assistant Stage Manager must be present on the deck or in communication from the booth with all backstage areas during all performances, run-throughs, technical rehearsals, and dress rehearsals, if feasible. Under no circumstances shall anyone other than the STA Equity Stage Manager, Assistant Stage Manager, or Stage Management advisor be on book calling the cues of a production. 
   3. Meal breaks shall be the same intervals as for Actors, but not necessarily at the same time. 
   4. The rest period between the end of employment on one (1) day and the beginning of the next shall be eleven (11) hours. During the twelve to fourteen (12 to 14) days preceding either the first public performance or the opening but not both, the rest period shall not be less than ten (10) hours. 
   5. The Stage Manager and Assistant Stage Manager shall have two (2) days off each week. 
   6. All rules for actors pertaining to rehearsals, performances, breaks, rest periods, and days off, shall also be applicable to Stage Managers and Assistant Stage Managers except where expressly stated otherwise. But in no case shall the Stage Manager’s and Assistant Stage Manager’s rehearsal and/or performance work week exceed the hours as specified above. 
   7. The Stage Manager or Assistant Stage Manager shall not be required to design, build, shop for, transport or hang scenery, props, lights, or costumes.
   8. The operation of lights and the design and operation of sound is not a primary Stage Manager duty but may be agreed to on an individual basis. 
   9. The Stage Manager or the Assistant Stage Manager shall not be required to transport any employees of the Theatre, including, but not limited to, Actors, directors, and designers, to appointments, performances, or rehearsals.
4. PRODUCTION SCRIPT.
   1. It is agreed that it is the duty of the Stage Manager to assemble and maintain the production script required for the actual technical and artistic operation of the production. 

Section 16 | Strike and End of Run

1. All members of the Theatre Production are required to assist in the strike of the production until released by the Technical Director, the Stage Manager, Producer, or Production Manager. Any STA Equity member not participating in strike will face disciplinary action set forth by the STA Representative Committee and STA Equity as stated in the Actor’s contract. 

Section 17 | Television, Filming, and Recording

1. Except as provided below, there shall be no televising, broadcasting, visual and/or sound recording, motion picture filming, videotaping, or other mechanical or electronic reproduction.
   1. During a rehearsal:
      1. Filming or taping sessions shall not exceed one (1) hour of the regularly scheduled rehearsal. 
      2. Upon discussion of filming or taping during a rehearsal, the Theatre shall make every reasonable effort to give the cast a twenty-four (24) hour notice. 
   2. At a Performance or Final Dress
      1. Filming or taping may be for only one-half (1/2) hour of footage unless said filming or taping is for the sole purpose of the Presenting Organization. 
      2. The cast must be given twenty-four (24) hours’ notice. 
      3. When cameras are going to film or tape, the cast must be given notice at the half-hour call. 
      4. No additional or altered lighting may be used. It is intended that in permitting such filming or taping, neither the Actor nor the audience shall be disturbed in any manner. 
   3. Provisions Applicable to both Performance and Rehearsal:
      1. An  STA Equity Stage Manager is required at every filming or taping. 
   4. At a scheduled appointment.
      1. For the Presenting Organization’s marketing videos, the Videographer may schedule one-on-one interviews. The Videographer will schedule these in conversation with Interviewees (actors, designers, stage managers, dramaturgs, etc.) find a mutually convenient time, and keep the show’s Producer informed of the timeline. 
      2. These appointments will be treated in the same manner as costume fittings, dialect coaching appointments, etc. 
      3. These appointments will not be during rehearsal hours, and will not have an ES Equity Stage Manager present.