2000/week, minus percentages to agents and managers. Also, unless you are in a smash hit like Wicked, Lion King, or Hamilton, there is no guarantee of how long your show will stay open.
My nephew is a teacher in NYC and makes just under $60K per year, that is absolutely enough to pay for an apartment with roommates and put food on the table for a single person without significant school debt. So even if agents/managers get a third of that, I would think someone working consistently on an established show should be able to get by. Of course, if they have significant gaps due to show cancellations, etc. that is a totally different story, and I can imagine someone wanting a secondary income as a cushion in hat case.
Take into account taxes, the cost of vocal, dance, acting training, the student loans many people in theatre have, and the fees for agents and managers. Then take into account that many actors are not consistently employed, so they are also trying to save for their next gap between theatre jobs. They may have an acting job for six months, then not get anything else paying near that level for years. [Actors Equity](https://actorsequity.org/aboutequity/annualstudy/2018-2019-annual-report.pdf) showed the average member working something like 17 weeks a year in 2018-2019 (the last year where COVID doesn't impact employment). The number of Equity members with secure employment in long running shows is probably less than 1% of the total union.
Anecdotal evidence like your nephew's story doesn't change the situation for actors (or many, many teachers in the city). I'm glad he seems to be doing well, but I find holding up anecdotal evidence like your nephew's experience to be disrespectful to both the person used as an example and to the people living the reality you're trying to dismiss.
From my personal experience: I have worked coat check and bar gigs with folks with multiple Broadway credits. Most of them worked 2-3 jobs (a flexible office job, coaching/teaching, working customer service, and then often working on their own theatre companies or productions). I knew many teachers in similar boats, where they had a weekend and/or summer job in order to help them cover expenses, especially since they often have to pay for classroom supplies out of pocket.
All true, but it was still worth sharing, because there’s a tendency of people to think a salary of $60k is impossible to live on in NYC. It’s not, you’re just going to be outside Manhattan, with roommates, and not spending freely on things like takeout and cabs.
I have lived in NYC (including Manhattan) on less than half that, so very aware of that (edit: this was a few years ago, so it has gotten worse). Even with my personal experience, it doesn’t change what I said. Just because it is possible and one person’s experience, it doesn’t necessarily apply universally (or even normally).
Good for your nephew for getting by on that salary, but it’s tough. Being a teacher is a lot of work and is a draining job.
oh boy. cost of living has gone up almost 20% since 2016, and I'd wager more in NYC. context is really key here. thanks for clarifying.
ETA: the comment this is in reference to said something to the effect of "in 2009 I lived on 11K and in 2016 I lived on 32K and have since moved out of NYC."
As I noted in part above, he's got 2 roommates; they're in a 3BR/2 bath apartment in central Harlem, with a total rent under $4K. He's certainly not living lavishly but can keep food on the table, go out occasionally and save a little.
Also, the median (not average) HH income in NYC is around $76K. Average household size is 2.5 people so per person it's obviously far less (Census only provides average income per person which is $48K). It's clear that many people are getting by in NYC with an individual income of $60K. That doesn't mean that Broadway performers don't deserve to make more, or that individual circumstances like school debt, supporting family, etc. might make it unworkable, but it's ridiculous to state that $60K is not a living wage for one person.
Source: https://www.census.gov/quickfacts/fact/table/newyorkcitynewyork/HSG010222
Most people don’t work all the time and not everyone wants to have four roommates. Many actors have children or spouses and don’t have lifestyles compatible with what you’re describing.
OP was asking for a niece who appears to be currently in college and appears to have pretty much the lifestyle I was describing. As an FYI, he was looking with initially one and then two roommates, in both cases rent per person was under $1,500 in Central Harlem/Manhattan, with several options to choose from. I was actually surprised rents were that low and I've been living in NYC for over 30 years.
Generally they won’t work a very robust day job during their run in a show, though many have some kind of very very part-time side gig (for instance, I know some dancers in Broadway ensembles who do a small amount of teaching or coaching during the day, even during runs, but rarely more than a couple days a week). One of the reasons why so many actors work in the service industry during off-seasons is not only the availability of jobs, but also because those kinds of jobs often let you quit with short notice and come back some months later, or if not, someone’s always hiring.
Equity minimum this year 2638. Most earn a little bit more than that.
I don’t know of any ensemble members that live solely off their show salaries for a variety of reasons.
Most have jobs that make more money butttttt being on Broadway is a ticket to those opportunities (coaching, tutoring, classes, and TONS of other things).
Also I’m an MT college student so if you have advice about getting equity and why you should or shouldn’t lmk—I’m new to this subReddit so I don’t know how many people here have experience vs being fans. But from what I have learned so far a. It’s hard to qualify for equity. It’s so much like a waitressing job where they want you to “have experience” but how are you supposed to “get experience” if you’re required to have experience to get experience?? And b. Accepting equity can limit your job options, bc once you join equity you have to only do equity shows
I was an Equity stage manager and not a performer, so getting my card was a bit of a different path. There is a LOT of non-equity theatre out there, especially in NYC and Chicago. Many actors start in storefront theatres, auditioning for everything and performing whenever possible. They aim to get seen by the casting directors at the bigger theatres, and may start out as an understudy or a member of the ensemble; many of those theatres have a minimum number of Equity contracts required, but can cast beyond that with non-union actors. Back when I joined, they had the EMC program where you could earn points/experience and then join the union, but the prevailing wisdom was that you don't want to join Equity until someone offers you a contract - until you have enough interest in you to know you will continue to get hired as a union member. So in terms of experience, there are plenty of ways to gain it before joining, but it's really not about that. It's about someone wanting you enough to offer the contract.
Yes, once you join AEA you can only do union shows. But you'll be protected by the equity contract, which determines minimum pay, maximum hours you can work in a day and in a week, maximum number of performances per week, and limits the scope of your job to just acting. You can get health insurance and a 401k and a pension. You have a union to stand up for you if someone is trying to take advantage. Equity isn't the strongest union out there, but without it, you don't have protections and are making very little money. It's a fantastic choice if you know you can continue to get union work.
Equity has open access now. You used to have to either do the EMC program and get enough points to join or be offered a job that required you to join like a Broadway contract. Now you have to have a professional credit and then you can join if you’re willing to pay for it. But yes bear in mind when you’re young like freshly out of college unless you’re consistently booking non-equity work you’re going to have a bad time if you join too soon.
I’m just a hobbyist actor but I have friends who have “gone pro”, and typically the career progression path is to start off doing work with nonunion professional theatres (basically community theatre with extra steps and a stipend ranging from $200-$2000 for the entire run of the show that you obviously don’t live on), to doing some nonunion tracks in regional theatres that are equity houses (most LORTs hire some nonunion actors for ensemble/understudy or sometimes even supporting principal tracks, these theatres will usually pay either an hourly rate or a weekly rate to nonunion actors that ends up being like $300-600 per week), then at that point actors start to think about joining AEA after getting enough nonunion professional/regional credits under their belt, but even then it’s still a pretty long road of doing AEA regional, touring or off bway theatre for most before getting to Broadway.
Yo im a MT super-fan and totally relate to this; I’m transitioning into a new career in which 99% of jobs require a professional portfolio to enter…but how th am I supposed to build one if no one hires at actual entry level??
That said— as someone who’s been obsessive about MT since I was 7 + went to the top HS for MT in Los Angeles— you might already know this, but the best path is to audition for workshops, audition for tours, and/or live yourself in a city w a solid but chill musical theater scene. That’s how many (if not most) of the big/ frequently employed names in NYC started out. A lot of shows get workshopped in SF, DC and Chicago. I don’t personally know which regional theater companies are good, but I’d look into that too.
Okay great thank you! I am staying in LA for a year or so before graduating to try to get a foot in the field in LA and then meet NY people from there/hopefully get an agent and go to New York a few times a year for auditions. Plus LA is expensive but it is still cheaper than NYC!!
Also I love how much you love MT and how supportive you are of your niece.
Aw thanks 💝, I just wanna see her have a leg up before jumping in. But through scrolling and responding to comments, I'm definitely realizing i'm *that* aunt bc I'm making mental notes of all the diff jobs she could pick up so I can present them to her during her spring break lmao.
Awesome about getting your roots in LA! Let me know if you find a good company, and def keep us updated once you land a role! I've been trying to search for local productions, but I pretty much only find touring pantages stuff. Though I recently moved to Pasadena and started seeing shows from A Noise Within, and they're doing Sweeney feb-march :)
Tysm 🙃. And yes I love Sweeney and can’t wait! It’s in my top two favorites and I’ve never seen it live. I’m gonna be in NYC in April and that’s when Aaron Tate will take over, which is like…he’s really talented but best as a tenor so it’s all weird lol.
Anyway lol, thank you for your kind words, and I wish you the best in MT 😌. Enjoy it!!
if you’re on broadway, you’re equity. it’s not hard to join equity anymore, but there are definitely a lot of different pros and cons to doing so, like you said.
Oh okay yes. When she said ensemble in NYC I wasn’t thinking exclusively Broadway—but I’m realizing I guess this IS a Broadway Reddit and rereading I’m seeing that she specified a question about off Broadway at the bottom. And I didn’t know they made it easier! That’s reassuring! I only just went to my first bway open call recently and am starting my journey so I really need to educate myself more on specific equity details. Also…the more I read this OP the more I am questioning whether or not my own aunt posted this 😂😭
Hahahaha, btw my niece is still in college and I already have anxiety about it. Her parents and grandparents are like “she’s so talented, she has nothing to worry about.” But I got a BA in creative writing and philosophy & my professors and family said the exact thing. Yet my 20s financials were chaotic, so I wanna let my niece know if she should start getting experience in another trade. But as I’m writing this I’m realizing yeah def, bc of the reality of the entry years where you’re building your resume + time between shows.
Pls keep us updated!! I’ve always been curious about how one enters NYC musical theater 🙃
I’m sure she’s incredibly talented, but like you said, New York is hard. Even actors who book Broadway shows will have long stints where they’re in nothing, or in something that doesn’t pay very well. I’ve only been living in New York for about a year, but I can guarantee she’ll need a day job for a significant period of time, if not her whole career. I’d recommend her looking into waitressing, and if she can, working her way into a higher end restaurant. I have a friend in the city who works as a waiter in an expensive restaurant, and he makes great money for being in his 20s, and he got the job from having prior experience in another city. He also has very flexible hours and can work around any rehearsals or shows if needed.
I’m sure she’ll learn a lot about this in college, but New York, and Broadway especially, is insanely competitive. I recently held virtual auditions on Backstage for a short play in a festival that is unpaid, and I still got over 120 submissions for two characters in a week and a half long period. And that’s the way it is for most things people submit for. Directors are going through so many submissions that it can take a while to book your first show, even something small.
I don’t say this to be discouraging, even though it sounds that way a little, more so just to be a realist. I also found it was something I had to help my parents understand as well, because so many people assume that all talented actors will eventually find their way to Broadway when that’s unfortunately untrue. But success in a career in theatre is not defined by Broadway, it’s about creating art and doing what you love. If she wants to move to New York, she absolutely should. There are a lot of great things about being here beyond pursuing a career in theatre, and as one of my professors always said, it’s better to be young and broke in New York then old and broke in New York. And if she’s not getting cast much, it most likely has nothing to do with her talent and everything to do with every other thing that factors into casting. It’s difficult to be an actor, but if she loves it, she should do it. And let me know if you have any questions for a broke 20 something in New York pursuing theatre!
If it’s an all equity show, everyone makes equity minimum, regardless of equity status. If it’s a show with some equity contracts and some non equity contracts, the non equity actors typically make less, but the amount varies by theatre. If it’s an entirely non equity show, the pay can vary widely, and it can be unpaid as well. Regional theaters also pay significantly less than Broadway to their equity actors, and the amount is determined by their size.
It’s not so much that they have to, but many will choose to do some sort of side work because just to keep their names in those loops for when they need to pick up a job when they are no longer employed in a show.
Now, if you’re talking West End, yes, the pay is much lower (the current highest minimum for an 8 show week in an 1100+ seat theatre is £838.19, which is about $1065.14 at current exchange rates, and it goes down from there if your show is in a smaller theatre to as low £686/$872), so you will hear about many more people in those shows who have to maintain a second job even when employed in the West End.
Stuff like this makes me somewhat more open to broadway ticket prices. I hate that they’re inaccessible, but the ensemble shouldn’t need to work 2 jobs to survive.
Sure. But a weekly minimum that is double is going to impact ticket prices. Obviously not arguing there isn’t a greed tax on top of it. Broadway tickets are way more than double the west end.
Average salaries are also lower across the border in the UK. London rent is obviously high, but the cost of living is still lower than NYC, and social services far more robust (for example, universal healthcare makes a substantial impact). Not sure that adjusted the London salaries are equivalent to NYC, but just pointing out that the comparison isn’t an exact equivalence.
Some do, some don't. It depends on a bunch of factors, for instance if they're supporting a family in NYC, have student debt, or are in a show that's likely to flop, then yes, they are probably supplementing.
If they're in a long-running show, and have the ability to constantly renew their contracts, they may feel comfortable not having a second job.
For the most part though you never know when or how long "between shows" is going to be, so you need to prepare for the worst, including having a steady source of income.
I know several ensemble folks who had side gigs and every single one had roommates or partners they were sharing housing costs with. Lots of property appraisers, real estate agents, vocal coaches, Etsy hustles etc.
Wouldn’t you have to be somewhat established to teach a masterclass? My niece is about to graduate college and has only had one professional job—as ensemble in a not great regional theater.
yeah, but i'm asking about my niece who is going to try to enter broadway within the next couple of years, who has no professional experience.
Edit: I wrote Broadway, but I actually meant professional MT.
She should work on getting professional experience before she “enters Broadway.” It’s weird to start out with an expectation that you’re going to graduate and immediately find yourself in a Broadway show. There are tons of places to get experience before assuming you‘ll bypass everyone working their way up and start at the top.
Either way, if she’s in a good MT program they will be heavily coached on how to make a career of this, she shouldn’t rely on Reddit or non-industry family members to figure it out.
Yes—I meant professional MT even though I wrote Broadway. She’s at Syracuse, which has an okay MT program, but not really preparing her for entering the industry, hence my post. She got nominated for a musical theater competition whose name i can’t remember, but was on broadcast on TV so assume that it’s somewhat reputable. I’m actually leaning more into the possibility that she won’t make it in because her singing isn’t super strong/professional level and neither is her acting. She’s a legit dancer but dance has been weeded out more and more from MT the past 20 years. So we’ll see…
I don’t expect Reddit to fully answer her dilemma, but imo it’s a good place for ideas from ppl who have direct experience.
I nkw a resemble dancer and when she’s in a show she does private dance lessons and when she is not in a show she does freelance copy editing. But even when she is in a show she may do one copy editing job to keep her name on the list so to speak.
This is such a good idea!! Idk how I didn’t think of this lol; I’m currently working remote and the best part of it is that I can take whatever dance & voice classes I want bc I could be available at any time on any day. Thanks 🙃
Depends on what their standards of living are and how far away they're willing to live, but yes--you can generally live on the union minimum if you need to. Whether that's living "well" is probably up to each person.
I know some do other types of jobs--modeling, teaching, etc., but I think the performance schedule is too exhausting to really do too much
No matter what kind of actor you are, it's going to take awhile to make a living wage. I'm currently taking a course for legal transcription so I can have a part time job while I'm doing acting. It's a perfect job for actors because it pays well, it's part time, it's in demand, and you can do it online. Courses to get certified are reasonably priced and it tells you everything you need to know. I'm wishing your niece well. ❤️
I lived in Manhattan on an (inflation adjusted) \~$92k salary out of college a decade back and felt comfortable (but with roommates, of course). Didn't think about tracking expenses, did what I wanted in general, and still managed to save 5 figures a year. But extravagance is obviously relative.
If you're living alone in a doorman building, sure. But I was helping my nephew look for his first apartment a couple of months ago and found tons of options that were much less for him and two roommates. He's paying less than $1,500/month right now to live in central Harlem - it's not fancy and he's in a walkup, but it's safe enough. There were numerous choices in that price range, ut of course many folks don't have the credit/income to qualify (some of his roommates needed cosigners alth0ugh he did not).
I’m genuinely curious how you feel this way. I make 50k a year and live extremely comfortably. I don’t purchase extravagant stuff, but I see tons of theatre and culture events. I counted at the end of the year and found that I saw 70 professional live theatre productions last year. Many more opera, ballet, and music performances too. Mostly on rush tickets. But still, I guess I’m not sure how 6 figures would be tight.
Well if you’re on a well performing show, for example (wicked, lion king, Sweeney Todd, etc. Anything that last over a year and is equity the wage should usually cover. Many actors that I know that are on Broadway even as ensemble, do not have other jobs. Maybe side gigs if they want to* but being in a show is a full time commitment which leaves little time for anything else.
Just a note for regional theatres is that most have part-time jobs (some industry related, some not) especially because their contracts tend to be for 2 months at a time. Hell of a way to make a living. I admire them a lot, not only for their talent but also because I could never do that
They probably would like to put away for retirement too. They know their career can be fickle and dry up quickly, often much younger than us regular job people.
A former student who was just in the company of Shucked maintained her call-in IT job with a financial service agency, part time/off hours.
During the run she only did about 15 hours a week, but she did it to maintain on the payroll for the company and because she knew she’s likely need to go back to it. she did/does that full time when not in a show. It pays well, and she can do it from just about anywhere (including on the road).
smart!! I'm totally gonna note this and let her know when i see her during her spring break (lol i know i'm gonna be *that* aunt with a plan B,C,D, and E for her, but I don't want her to arrive at the scene and be shocked/confused as to how to manage it all).
They can probably get by with roommates or a partner ( Bonnie Milligan who’s a principal in a show that’s been running over a year and a Tony winner lives with 2 roommates rn but it’s a rent controlled apartment - nyc real estate is a different beast) sometimes they’ll teach workshops/classes to supplement their income but doesn’t interfere with rehearsals or a show schedule.
There's levels to the answer.
But generally.
Minimum for Broadway is 1400 I believe, you can make more though and often will.
Off Broadway is a huge range of things, but higher tier off Broadway is gonna be like 1000-1400
Tours are a big range as well but usually it's 1000-1600. But you can also get overage on tour, like the folks on Les Mis tour for instance are all probably taking a smaller weekly BCS they know that tour is gonna make a profit and they will get a percentage of the overage.
Most other contracts are gonna be like 750.
If you have a manager and or an agent, you're paying ~10 % of your gross to both of those separately.
NY taxes are brutal.
idk about the new york scene, but i was a sub in LA for a year w a company that was extremely flexible: I chose whatever days I wanted month by month, as well as how far of a commute i was willing to do. it's also really easy to start and stop-- management is sort of moving everyone around like sheep / don't really get to know you.
Actors
The current minimum salary for an Equity performer on Broadway is $2,439 a week. But that figure can increase depending on the particular demands of any given track. For instance, a chorus role or specialty adds $25 to that weekly minimum, which is more or less standard across the board for Broadway ensembles these days.
Understudying roles also comes with additional pay. Swings, who understudy multiple ensemble tracks, earn $116.15 over the performer minimum, or $20 if a performer is only a partial swing. Understudying principal roles can add $60 to the weekly salary, while understudying chorus roles adds $17.50.
Musicals will also designate performers as dance captains, who are tasked with knowing all of the show’s choreography and ensuring it continues to be performed as it was originally set. Serving as a dance captain adds $464.60 to the weekly salary, while assistant dance captains add $232.30. If a production calls for a fight captain to maintain fight choreography, that performer adds $100 to their weekly salary.
Another interesting way an actor’s base salary can increase if they're specifically on a chorus contract is by agreeing to a one-year rider, essentially saying that the performer will remain with a production for an entire year. For the first six months of that agreement, the performer earns an extra $80 weekly, which becomes $40 for the second six months. At the end of the year, assuming the performer has indeed remained with the production, they get a $2,600 bonus.
$96,000–but that’s before taxes and manager fees, etc. Also performers are expected to keep taking voice/acting/possibly dance classes, which I’m assuming is a big expense.
The additional day job supplements their income during the times of employment to help create savings/security for those times "in between shows."
While the 2K a week is enough to live comfortably, there is literally no way to know how long a run of employment in a show will last nor how long runs of not being cast will last.
No one wants to budget life simply week to week.
2000/week, minus percentages to agents and managers. Also, unless you are in a smash hit like Wicked, Lion King, or Hamilton, there is no guarantee of how long your show will stay open.
So how much is it typically after all that?
Not enough to live comfortably
My nephew is a teacher in NYC and makes just under $60K per year, that is absolutely enough to pay for an apartment with roommates and put food on the table for a single person without significant school debt. So even if agents/managers get a third of that, I would think someone working consistently on an established show should be able to get by. Of course, if they have significant gaps due to show cancellations, etc. that is a totally different story, and I can imagine someone wanting a secondary income as a cushion in hat case.
Take into account taxes, the cost of vocal, dance, acting training, the student loans many people in theatre have, and the fees for agents and managers. Then take into account that many actors are not consistently employed, so they are also trying to save for their next gap between theatre jobs. They may have an acting job for six months, then not get anything else paying near that level for years. [Actors Equity](https://actorsequity.org/aboutequity/annualstudy/2018-2019-annual-report.pdf) showed the average member working something like 17 weeks a year in 2018-2019 (the last year where COVID doesn't impact employment). The number of Equity members with secure employment in long running shows is probably less than 1% of the total union. Anecdotal evidence like your nephew's story doesn't change the situation for actors (or many, many teachers in the city). I'm glad he seems to be doing well, but I find holding up anecdotal evidence like your nephew's experience to be disrespectful to both the person used as an example and to the people living the reality you're trying to dismiss. From my personal experience: I have worked coat check and bar gigs with folks with multiple Broadway credits. Most of them worked 2-3 jobs (a flexible office job, coaching/teaching, working customer service, and then often working on their own theatre companies or productions). I knew many teachers in similar boats, where they had a weekend and/or summer job in order to help them cover expenses, especially since they often have to pay for classroom supplies out of pocket.
All true, but it was still worth sharing, because there’s a tendency of people to think a salary of $60k is impossible to live on in NYC. It’s not, you’re just going to be outside Manhattan, with roommates, and not spending freely on things like takeout and cabs.
And maybe these actors want more than that? Hence supplemental income
I have lived in NYC (including Manhattan) on less than half that, so very aware of that (edit: this was a few years ago, so it has gotten worse). Even with my personal experience, it doesn’t change what I said. Just because it is possible and one person’s experience, it doesn’t necessarily apply universally (or even normally). Good for your nephew for getting by on that salary, but it’s tough. Being a teacher is a lot of work and is a draining job.
like. in the last 5 years? hat trick indeed.
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oh boy. cost of living has gone up almost 20% since 2016, and I'd wager more in NYC. context is really key here. thanks for clarifying. ETA: the comment this is in reference to said something to the effect of "in 2009 I lived on 11K and in 2016 I lived on 32K and have since moved out of NYC."
Such a good point-- totally forgot that continuing to take acting/voice/dance classes are a must.
lol yea and he "only needs 7 rommates"and steals kids lunches. 60k in NYC is tough.
As I noted in part above, he's got 2 roommates; they're in a 3BR/2 bath apartment in central Harlem, with a total rent under $4K. He's certainly not living lavishly but can keep food on the table, go out occasionally and save a little. Also, the median (not average) HH income in NYC is around $76K. Average household size is 2.5 people so per person it's obviously far less (Census only provides average income per person which is $48K). It's clear that many people are getting by in NYC with an individual income of $60K. That doesn't mean that Broadway performers don't deserve to make more, or that individual circumstances like school debt, supporting family, etc. might make it unworkable, but it's ridiculous to state that $60K is not a living wage for one person. Source: https://www.census.gov/quickfacts/fact/table/newyorkcitynewyork/HSG010222
Most people don’t work all the time and not everyone wants to have four roommates. Many actors have children or spouses and don’t have lifestyles compatible with what you’re describing.
OP was asking for a niece who appears to be currently in college and appears to have pretty much the lifestyle I was describing. As an FYI, he was looking with initially one and then two roommates, in both cases rent per person was under $1,500 in Central Harlem/Manhattan, with several options to choose from. I was actually surprised rents were that low and I've been living in NYC for over 30 years.
Yeah this is helpful. I mean, I don’t imagine my niece would live in manhattan, in fact I’m 90% sure she wants to live in Brooklyn.
Brooklyn has become just as expensive (if not more so in certain areas)
ayyy, is there someplace cheaper through which she could commute when she starts out?
New Jersey
Oh damn, sorry to ask so many questions, but how long is the commute from there?
NY and NJ are lengthwise aligned. So it entirely depends on how south/North you start vs how south/north you're trying to go. 30mins-2hrs
queens!
Tysm 🙃. She’s white with blond hair though—would that be an issue?
uh??????? what
Brooklyn is the new Manhattan
Generally they won’t work a very robust day job during their run in a show, though many have some kind of very very part-time side gig (for instance, I know some dancers in Broadway ensembles who do a small amount of teaching or coaching during the day, even during runs, but rarely more than a couple days a week). One of the reasons why so many actors work in the service industry during off-seasons is not only the availability of jobs, but also because those kinds of jobs often let you quit with short notice and come back some months later, or if not, someone’s always hiring.
Equity minimum this year 2638. Most earn a little bit more than that. I don’t know of any ensemble members that live solely off their show salaries for a variety of reasons. Most have jobs that make more money butttttt being on Broadway is a ticket to those opportunities (coaching, tutoring, classes, and TONS of other things).
Also I’m an MT college student so if you have advice about getting equity and why you should or shouldn’t lmk—I’m new to this subReddit so I don’t know how many people here have experience vs being fans. But from what I have learned so far a. It’s hard to qualify for equity. It’s so much like a waitressing job where they want you to “have experience” but how are you supposed to “get experience” if you’re required to have experience to get experience?? And b. Accepting equity can limit your job options, bc once you join equity you have to only do equity shows
I was an Equity stage manager and not a performer, so getting my card was a bit of a different path. There is a LOT of non-equity theatre out there, especially in NYC and Chicago. Many actors start in storefront theatres, auditioning for everything and performing whenever possible. They aim to get seen by the casting directors at the bigger theatres, and may start out as an understudy or a member of the ensemble; many of those theatres have a minimum number of Equity contracts required, but can cast beyond that with non-union actors. Back when I joined, they had the EMC program where you could earn points/experience and then join the union, but the prevailing wisdom was that you don't want to join Equity until someone offers you a contract - until you have enough interest in you to know you will continue to get hired as a union member. So in terms of experience, there are plenty of ways to gain it before joining, but it's really not about that. It's about someone wanting you enough to offer the contract. Yes, once you join AEA you can only do union shows. But you'll be protected by the equity contract, which determines minimum pay, maximum hours you can work in a day and in a week, maximum number of performances per week, and limits the scope of your job to just acting. You can get health insurance and a 401k and a pension. You have a union to stand up for you if someone is trying to take advantage. Equity isn't the strongest union out there, but without it, you don't have protections and are making very little money. It's a fantastic choice if you know you can continue to get union work.
Equity has open access now. You used to have to either do the EMC program and get enough points to join or be offered a job that required you to join like a Broadway contract. Now you have to have a professional credit and then you can join if you’re willing to pay for it. But yes bear in mind when you’re young like freshly out of college unless you’re consistently booking non-equity work you’re going to have a bad time if you join too soon.
I didn’t know about the open access! Thanks. But yeah the last part—that’s what I was thinking!! Thank you so much everyone!
I’m just a hobbyist actor but I have friends who have “gone pro”, and typically the career progression path is to start off doing work with nonunion professional theatres (basically community theatre with extra steps and a stipend ranging from $200-$2000 for the entire run of the show that you obviously don’t live on), to doing some nonunion tracks in regional theatres that are equity houses (most LORTs hire some nonunion actors for ensemble/understudy or sometimes even supporting principal tracks, these theatres will usually pay either an hourly rate or a weekly rate to nonunion actors that ends up being like $300-600 per week), then at that point actors start to think about joining AEA after getting enough nonunion professional/regional credits under their belt, but even then it’s still a pretty long road of doing AEA regional, touring or off bway theatre for most before getting to Broadway.
Yo im a MT super-fan and totally relate to this; I’m transitioning into a new career in which 99% of jobs require a professional portfolio to enter…but how th am I supposed to build one if no one hires at actual entry level?? That said— as someone who’s been obsessive about MT since I was 7 + went to the top HS for MT in Los Angeles— you might already know this, but the best path is to audition for workshops, audition for tours, and/or live yourself in a city w a solid but chill musical theater scene. That’s how many (if not most) of the big/ frequently employed names in NYC started out. A lot of shows get workshopped in SF, DC and Chicago. I don’t personally know which regional theater companies are good, but I’d look into that too.
Okay great thank you! I am staying in LA for a year or so before graduating to try to get a foot in the field in LA and then meet NY people from there/hopefully get an agent and go to New York a few times a year for auditions. Plus LA is expensive but it is still cheaper than NYC!! Also I love how much you love MT and how supportive you are of your niece.
Aw thanks 💝, I just wanna see her have a leg up before jumping in. But through scrolling and responding to comments, I'm definitely realizing i'm *that* aunt bc I'm making mental notes of all the diff jobs she could pick up so I can present them to her during her spring break lmao. Awesome about getting your roots in LA! Let me know if you find a good company, and def keep us updated once you land a role! I've been trying to search for local productions, but I pretty much only find touring pantages stuff. Though I recently moved to Pasadena and started seeing shows from A Noise Within, and they're doing Sweeney feb-march :)
Hey she is lucky to have that aunt!! Also, thank you!! I’ll let you know. And I’ll have to check out A Noise Within—I love Sweeney!! 😍
Tysm 🙃. And yes I love Sweeney and can’t wait! It’s in my top two favorites and I’ve never seen it live. I’m gonna be in NYC in April and that’s when Aaron Tate will take over, which is like…he’s really talented but best as a tenor so it’s all weird lol. Anyway lol, thank you for your kind words, and I wish you the best in MT 😌. Enjoy it!!
And good agents would negotiate plus 10% so their fee doesn’t come out of their clients paycheck
But also most aren’t equity, it’s quite difficult to become equity, and once presented with the options there are pros and cons to weigh out
if you’re on broadway, you’re equity. it’s not hard to join equity anymore, but there are definitely a lot of different pros and cons to doing so, like you said.
Oh okay yes. When she said ensemble in NYC I wasn’t thinking exclusively Broadway—but I’m realizing I guess this IS a Broadway Reddit and rereading I’m seeing that she specified a question about off Broadway at the bottom. And I didn’t know they made it easier! That’s reassuring! I only just went to my first bway open call recently and am starting my journey so I really need to educate myself more on specific equity details. Also…the more I read this OP the more I am questioning whether or not my own aunt posted this 😂😭
Hahahaha, btw my niece is still in college and I already have anxiety about it. Her parents and grandparents are like “she’s so talented, she has nothing to worry about.” But I got a BA in creative writing and philosophy & my professors and family said the exact thing. Yet my 20s financials were chaotic, so I wanna let my niece know if she should start getting experience in another trade. But as I’m writing this I’m realizing yeah def, bc of the reality of the entry years where you’re building your resume + time between shows. Pls keep us updated!! I’ve always been curious about how one enters NYC musical theater 🙃
I’m sure she’s incredibly talented, but like you said, New York is hard. Even actors who book Broadway shows will have long stints where they’re in nothing, or in something that doesn’t pay very well. I’ve only been living in New York for about a year, but I can guarantee she’ll need a day job for a significant period of time, if not her whole career. I’d recommend her looking into waitressing, and if she can, working her way into a higher end restaurant. I have a friend in the city who works as a waiter in an expensive restaurant, and he makes great money for being in his 20s, and he got the job from having prior experience in another city. He also has very flexible hours and can work around any rehearsals or shows if needed. I’m sure she’ll learn a lot about this in college, but New York, and Broadway especially, is insanely competitive. I recently held virtual auditions on Backstage for a short play in a festival that is unpaid, and I still got over 120 submissions for two characters in a week and a half long period. And that’s the way it is for most things people submit for. Directors are going through so many submissions that it can take a while to book your first show, even something small. I don’t say this to be discouraging, even though it sounds that way a little, more so just to be a realist. I also found it was something I had to help my parents understand as well, because so many people assume that all talented actors will eventually find their way to Broadway when that’s unfortunately untrue. But success in a career in theatre is not defined by Broadway, it’s about creating art and doing what you love. If she wants to move to New York, she absolutely should. There are a lot of great things about being here beyond pursuing a career in theatre, and as one of my professors always said, it’s better to be young and broke in New York then old and broke in New York. And if she’s not getting cast much, it most likely has nothing to do with her talent and everything to do with every other thing that factors into casting. It’s difficult to be an actor, but if she loves it, she should do it. And let me know if you have any questions for a broke 20 something in New York pursuing theatre!
Awe thanks! I left you another reply but I am staying in LA for a year or so before I move back to NYC!!
So how much do they get paid if they’re not equity?
If it’s an all equity show, everyone makes equity minimum, regardless of equity status. If it’s a show with some equity contracts and some non equity contracts, the non equity actors typically make less, but the amount varies by theatre. If it’s an entirely non equity show, the pay can vary widely, and it can be unpaid as well. Regional theaters also pay significantly less than Broadway to their equity actors, and the amount is determined by their size.
It’s not so much that they have to, but many will choose to do some sort of side work because just to keep their names in those loops for when they need to pick up a job when they are no longer employed in a show. Now, if you’re talking West End, yes, the pay is much lower (the current highest minimum for an 8 show week in an 1100+ seat theatre is £838.19, which is about $1065.14 at current exchange rates, and it goes down from there if your show is in a smaller theatre to as low £686/$872), so you will hear about many more people in those shows who have to maintain a second job even when employed in the West End.
Stuff like this makes me somewhat more open to broadway ticket prices. I hate that they’re inaccessible, but the ensemble shouldn’t need to work 2 jobs to survive.
unfortunately the ticket prices (even when they’re astronomical) don’t even affect what the performers are paid
Sure. But a weekly minimum that is double is going to impact ticket prices. Obviously not arguing there isn’t a greed tax on top of it. Broadway tickets are way more than double the west end.
Lots of the cost of a broadway musical is about the rent for the theater! Which is also much larger than the cost of renting a west end theater.
True but apartments and some other things like healthcare are a lot cheaper in London than New York
Average salaries are also lower across the border in the UK. London rent is obviously high, but the cost of living is still lower than NYC, and social services far more robust (for example, universal healthcare makes a substantial impact). Not sure that adjusted the London salaries are equivalent to NYC, but just pointing out that the comparison isn’t an exact equivalence.
Some do, some don't. It depends on a bunch of factors, for instance if they're supporting a family in NYC, have student debt, or are in a show that's likely to flop, then yes, they are probably supplementing. If they're in a long-running show, and have the ability to constantly renew their contracts, they may feel comfortable not having a second job. For the most part though you never know when or how long "between shows" is going to be, so you need to prepare for the worst, including having a steady source of income.
I know several ensemble folks who had side gigs and every single one had roommates or partners they were sharing housing costs with. Lots of property appraisers, real estate agents, vocal coaches, Etsy hustles etc.
a lot teach one or two masterclasses a week that get them a couple hundred bucks
Wouldn’t you have to be somewhat established to teach a masterclass? My niece is about to graduate college and has only had one professional job—as ensemble in a not great regional theater.
if you’re dancing on broadway you can teach a masterclass lol
yeah, but i'm asking about my niece who is going to try to enter broadway within the next couple of years, who has no professional experience. Edit: I wrote Broadway, but I actually meant professional MT.
She should work on getting professional experience before she “enters Broadway.” It’s weird to start out with an expectation that you’re going to graduate and immediately find yourself in a Broadway show. There are tons of places to get experience before assuming you‘ll bypass everyone working their way up and start at the top. Either way, if she’s in a good MT program they will be heavily coached on how to make a career of this, she shouldn’t rely on Reddit or non-industry family members to figure it out.
Yes—I meant professional MT even though I wrote Broadway. She’s at Syracuse, which has an okay MT program, but not really preparing her for entering the industry, hence my post. She got nominated for a musical theater competition whose name i can’t remember, but was on broadcast on TV so assume that it’s somewhat reputable. I’m actually leaning more into the possibility that she won’t make it in because her singing isn’t super strong/professional level and neither is her acting. She’s a legit dancer but dance has been weeded out more and more from MT the past 20 years. So we’ll see… I don’t expect Reddit to fully answer her dilemma, but imo it’s a good place for ideas from ppl who have direct experience.
she should work on getting a career that’s separate from theatre, most performers have some sort of side hustle or just fully separate career
Every professional ensemble member I know at least teaches, nannies, walks dogs or serves to make ends meet.
I nkw a resemble dancer and when she’s in a show she does private dance lessons and when she is not in a show she does freelance copy editing. But even when she is in a show she may do one copy editing job to keep her name on the list so to speak.
This is such a good idea!! Idk how I didn’t think of this lol; I’m currently working remote and the best part of it is that I can take whatever dance & voice classes I want bc I could be available at any time on any day. Thanks 🙃
Depends on what their standards of living are and how far away they're willing to live, but yes--you can generally live on the union minimum if you need to. Whether that's living "well" is probably up to each person. I know some do other types of jobs--modeling, teaching, etc., but I think the performance schedule is too exhausting to really do too much
No matter what kind of actor you are, it's going to take awhile to make a living wage. I'm currently taking a course for legal transcription so I can have a part time job while I'm doing acting. It's a perfect job for actors because it pays well, it's part time, it's in demand, and you can do it online. Courses to get certified are reasonably priced and it tells you everything you need to know. I'm wishing your niece well. ❤️
Really good idea, thank you 🙏 ♥️♥️.
No problem. I'm happy to help. 😊
A low 6 figure salary in NYC is just about enough to live decently, with no extravagant extras. Everything is ridiculously expensive here.
I think you can definitely live extravagantly in NYC on a $140,000 salary. But maybe we have different ideas of extravagance haha.
$140,000 assuming you work every week of the year, which most actors don't.
I lived in Manhattan on an (inflation adjusted) \~$92k salary out of college a decade back and felt comfortable (but with roommates, of course). Didn't think about tracking expenses, did what I wanted in general, and still managed to save 5 figures a year. But extravagance is obviously relative.
A decade ago you could- $92K was good money then, now, not so much.
I said "inflation adjusted" - it was $70k back then.
The cost of living in New York has risen faster than inflation.
It's clear that my point remains anyway. It has not doubled in the past decade.
Bro I lived like a king on $40,000 when I cooked for myself
That's about a years rent.
If you're living alone in a doorman building, sure. But I was helping my nephew look for his first apartment a couple of months ago and found tons of options that were much less for him and two roommates. He's paying less than $1,500/month right now to live in central Harlem - it's not fancy and he's in a walkup, but it's safe enough. There were numerous choices in that price range, ut of course many folks don't have the credit/income to qualify (some of his roommates needed cosigners alth0ugh he did not).
So a walkup with 2 roommates and never eating out is "living like a king"?
Henry VIII had many roommates and mostly ate at home.
At least Six.
No, you can’t. You’re certainly not going to starve, but “extravagantly”? No. Absolutely not.
You don’t need to be making six figures, you just need to accept you’ll have roommates. See: everyone with media jobs.
I’m genuinely curious how you feel this way. I make 50k a year and live extremely comfortably. I don’t purchase extravagant stuff, but I see tons of theatre and culture events. I counted at the end of the year and found that I saw 70 professional live theatre productions last year. Many more opera, ballet, and music performances too. Mostly on rush tickets. But still, I guess I’m not sure how 6 figures would be tight.
It’s also $2000 gross, so after taxes, paying agents/managers/publicists/whatever else, it’s probably not that much? Especially for in NYC.
Well if you’re on a well performing show, for example (wicked, lion king, Sweeney Todd, etc. Anything that last over a year and is equity the wage should usually cover. Many actors that I know that are on Broadway even as ensemble, do not have other jobs. Maybe side gigs if they want to* but being in a show is a full time commitment which leaves little time for anything else.
Just a note for regional theatres is that most have part-time jobs (some industry related, some not) especially because their contracts tend to be for 2 months at a time. Hell of a way to make a living. I admire them a lot, not only for their talent but also because I could never do that
People want money.
They probably would like to put away for retirement too. They know their career can be fickle and dry up quickly, often much younger than us regular job people.
ESPECIALLY dancers
Most have to supplement their income. New York taxes are horrid, food is so expensive, and everything adds up
I know one Broadway actor who is regularly employed but also brings home home healthy paychecks as a real estate broker.
smart!! thank you
A former student who was just in the company of Shucked maintained her call-in IT job with a financial service agency, part time/off hours. During the run she only did about 15 hours a week, but she did it to maintain on the payroll for the company and because she knew she’s likely need to go back to it. she did/does that full time when not in a show. It pays well, and she can do it from just about anywhere (including on the road).
smart!! I'm totally gonna note this and let her know when i see her during her spring break (lol i know i'm gonna be *that* aunt with a plan B,C,D, and E for her, but I don't want her to arrive at the scene and be shocked/confused as to how to manage it all).
They can probably get by with roommates or a partner ( Bonnie Milligan who’s a principal in a show that’s been running over a year and a Tony winner lives with 2 roommates rn but it’s a rent controlled apartment - nyc real estate is a different beast) sometimes they’ll teach workshops/classes to supplement their income but doesn’t interfere with rehearsals or a show schedule.
There's levels to the answer. But generally. Minimum for Broadway is 1400 I believe, you can make more though and often will. Off Broadway is a huge range of things, but higher tier off Broadway is gonna be like 1000-1400 Tours are a big range as well but usually it's 1000-1600. But you can also get overage on tour, like the folks on Les Mis tour for instance are all probably taking a smaller weekly BCS they know that tour is gonna make a profit and they will get a percentage of the overage. Most other contracts are gonna be like 750. If you have a manager and or an agent, you're paying ~10 % of your gross to both of those separately. NY taxes are brutal.
Tysm for the breakdown!! Super helpful information :)
Is being a substitute easy for workers on broadway ?
idk about the new york scene, but i was a sub in LA for a year w a company that was extremely flexible: I chose whatever days I wanted month by month, as well as how far of a commute i was willing to do. it's also really easy to start and stop-- management is sort of moving everyone around like sheep / don't really get to know you.
I’m pretty sure the minimum is around 2,600 per week now.
Actors The current minimum salary for an Equity performer on Broadway is $2,439 a week. But that figure can increase depending on the particular demands of any given track. For instance, a chorus role or specialty adds $25 to that weekly minimum, which is more or less standard across the board for Broadway ensembles these days. Understudying roles also comes with additional pay. Swings, who understudy multiple ensemble tracks, earn $116.15 over the performer minimum, or $20 if a performer is only a partial swing. Understudying principal roles can add $60 to the weekly salary, while understudying chorus roles adds $17.50. Musicals will also designate performers as dance captains, who are tasked with knowing all of the show’s choreography and ensuring it continues to be performed as it was originally set. Serving as a dance captain adds $464.60 to the weekly salary, while assistant dance captains add $232.30. If a production calls for a fight captain to maintain fight choreography, that performer adds $100 to their weekly salary. Another interesting way an actor’s base salary can increase if they're specifically on a chorus contract is by agreeing to a one-year rider, essentially saying that the performer will remain with a production for an entire year. For the first six months of that agreement, the performer earns an extra $80 weekly, which becomes $40 for the second six months. At the end of the year, assuming the performer has indeed remained with the production, they get a $2,600 bonus.
That’s the pre tax and pre representation payments. So they don’t take home 2600 per week.
I’m bad with math, how much does $8000 a month for a year come out to be?
$96,000–but that’s before taxes and manager fees, etc. Also performers are expected to keep taking voice/acting/possibly dance classes, which I’m assuming is a big expense.
….96,000…
LOL, how did I not notice this? Damn!
The additional day job supplements their income during the times of employment to help create savings/security for those times "in between shows." While the 2K a week is enough to live comfortably, there is literally no way to know how long a run of employment in a show will last nor how long runs of not being cast will last. No one wants to budget life simply week to week.