Non Equity Actor Contract by hxx14143

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									        Actors’ Equity Association


                 AGREEMENT AND RULES
                GOVERNING EMPLOYMENT
     UNDER THE WESTERN CIVIC LIGHT OPERA
             (WCLO) AGREEMENT

                 Effective Date: September 4, 2006
                    Expiration Date: May 30, 2010

                          NATIONAL OFFICE
                          165 West 46th Street
                          New York, NY 10036
                            (212) 869-8530
                          Fax (212) 719-9815

Chicago, IL 60603                                Hollywood, CA 90028
Suite 1500                                       5th Floor
125 South Clark Street                           6755 Hollywood Boulevard
(312) 641-0393 phone                             (323) 978-8080 phone
(312) 641-6365 fax                               (323) 978-8081 fax

San Francisco, CA 94104                          Orlando, FL 32821
Suite 900                                        10319 Orangewood Boulevard
350 Sansome Street                               (407) 345-8600 phone
(415) 391-3838 phone                             (407) 345-1522 fax
(415) 391-0102 fax

                          www.actorsequity.org
Actors’ Equity Association
                                               TABLE OF CONTENTS
RULE                                                                                                                     PAGE


1.    ACTOR'S OBLIGATION TO EQUITY. .................................................................... 1

2.    AGENTS. ................................................................................................................. 2

3.    ALIENS. ................................................................................................................... 2

4.    ARBITRATION. ....................................................................................................... 2

5.    AUDITIONS AND INTERVIEWS. ............................................................................ 3

6.    BAGGAGE. ............................................................................................................. 9

7.    BILLING................................................................................................................... 9

8.    BINDING EFFECT OF AGREEMENT. .................................................................. 10

9.    BLACKLISTING. ................................................................................................... 10

10.      BREACHES BY PRODUCER. ........................................................................... 11

11.      CLAIMS.............................................................................................................. 11

12.      CLOTHING AND COSTUMES........................................................................... 12

13.      CONTINUOUS EMPLOYMENT. ........................................................................ 14

14.      CONTRACT. ...................................................................................................... 15

15.      DANCE CAPTAIN. ............................................................................................. 16

16.      DEFAULTING EMPLOYERS. ............................................................................ 17

17.      DEFINITIONS..................................................................................................... 17

18.      DISABILITY LEAVE........................................................................................... 18



                                                                ii
19.   DISCRIMINATION FOR UNION ACTIVITY. ...................................................... 19

20.   DUTIES OF THE ACTOR................................................................................... 19

21.   EQUITY - SPECIAL PROVISIONS. ................................................................... 20

22.   EXCLUSIVE SERVICE OF THE ACTOR........................................................... 21

23.   EXTRAS. ............................................................................................................ 21

24.   FORMS. ............................................................................................................. 21

25.   HEALTH FUND .................................................................................................. 22

26.   HOUSING........................................................................................................... 22

27.   INJURY AND SUPPLEMENTAL WORKERS’ COMPENSATION..................... 24

28.   JUVENILE ACTORS. ......................................................................................... 24

29.   LAWS GOVERNING. ......................................................................................... 25

30.   NON-DISCRIMINATION. ................................................................................... 25

31.   NON-PROFESSIONALS.................................................................................... 25

32.   NON-TRADITIONAL CASTING. ........................................................................ 27

33.   NO STRIKE OR LOCK-OUT.............................................................................. 27

34.   NUDITY. ............................................................................................................. 28

35.   PENSION AND 401(K) PLAN. ........................................................................... 28

36.   PERFORMANCE LOST. .................................................................................... 28

37.   “PRE-BROADWAY”/PRODUCTION TRYOUTS. .............................................. 29

38.   PRODUCTION PROSECUTED.......................................................................... 30



                                                           iii
39.   PROGRAM AND SOUVENIR PROGRAM......................................................... 31

40.   PROPERTY........................................................................................................ 33

41.   RECORDINGS. (USE IN PRODUCTION) .......................................................... 34

42.   REHEARSAL, PERFORMANCE, AND OTHER WORK RELATED RULES. .... 34

43.   REOPENING OF A PLAY. ................................................................................. 39

44.   REPLACEMENT OF THE ACTOR. ................................................................... 39

45.   REPORTS. ......................................................................................................... 40

46.   RISK................................................................................................................... 41

47.   SAFE AND SANITARY PLACES OF EMPLOYMENT. ..................................... 41

48.   SALARIES. ........................................................................................................ 45

49.   SECRET VOTE. ................................................................................................. 48

50.   SECURITY AND SECURITY AGREEMENTS. .................................................. 48

51.   SET MOVES....................................................................................................... 49

52.   SICK LEAVE, ILLNESS, BEREAVEMENT, AND PARENTAL LEAVE............. 49

53.   SOCIAL SECURITY - UNEMPLOYMENT INSURANCE. .................................. 50

54.   STAGE FIGHTING. ............................................................................................ 51

55.   STAGE MANAGERS AND ASSISTANT STAGE MANAGERS. ....................... 52

56.   SUBSIDIARY RIGHTS. ...................................................................................... 55

57.   TELEVISING, FILMING AND RECORDING. ..................................................... 56

58.   TERMINATION................................................................................................... 61



                                                            iv
59.   TOURS. .............................................................................................................. 63

60.   TRANSFERS...................................................................................................... 68

61.   TRANSPORTATION TO AND FROM ENGAGEMENT. .................................... 69

62.   UNDERSTUDIES. .............................................................................................. 71

63.   UNION EMBLEM. .............................................................................................. 71

64.   UNION SECURITY/DUES AND FEES. .............................................................. 72

65.   VACATIONS. ..................................................................................................... 72

66.   VOLUNTARY CLASSES. .................................................................................. 73




                                                            v
AGREEMENT      made between Actors' Equity Association (hereinafter called “Equity”)
and Western Region Community Non-Profit Musical Theatres (hereafter called
“Producer”) operating under the Western Civic Light Opera Agreement (hereafter called
“WCLO”).
THEREFORE, it is mutually agreed as follows:
                                   RECOGNITION
The Producer agrees to recognize Actors' Equity Association as the exclusive
bargaining representative of all the Actors (Principals, Chorus and Extras), Stage
Managers and Assistant Stage Managers employed by the Producer for the purpose of
collective bargaining and the administration of matters within the scope of this
Agreement.
                        RULES GOVERNING EMPLOYMENT

1. ACTOR'S OBLIGATION TO EQUITY.
   (A) Nothing contained in any employment contract signed by any member of Equity
   shall be construed so as to interfere with the carrying out of any obligation which a
   member owes to Equity by virtue of such membership, and the Producer shall not
   only not request or require any member to do any act or thing forbidden by the
   Constitution and By-Laws of Equity or by the rules or orders of Equity, or orders of
   its authorized executives, but will require the Actor to do and/or assent to the Actor
   doing any and all acts required by the foregoing.
   (B) The Producer further agrees that it has notice:
       (1) That the Associated Actors and Artistes of America is a voluntary
       Association (hereinafter referred to as the 4-A’s) and is subject to the
       Constitution, By-Laws, rules, regulations and orders of the American Federation
       of Labor-Congress of Industrial Organizations (hereinafter referred to as AFL-
       CIO), from which it derives its charter.
       (2) That Equity deriving its charter from the 4-A's is in turn subject to the
       Constitution, By-Laws, orders, rules and regulations of the 4-A's and the AFL-
       CIO.
       (3) That the Actor is directly subject to the Constitution, By-Laws, rules,
       regulations and orders of the 4-A's, and the Producer agrees that it will not
       require the Actor to do any act or thing forbidden by the Constitution or By-Laws
       of the 4-A's or by its rules, orders or regulations.
       (4) Contracts of employment shall be subject to all such rules and regulations.
   (C) Nothing contained in this rule shall, however, require the Producer to take any
   action which is not legally permissible, or permit Equity to change, modify, amend,
   supersede or impose any conditions or obligations upon the Producer which are not
   specifically set forth in the WCLO Agreement or in any of the individual agreements
   made with Actors consistent herewith.
2. AGENTS.
   (A) Equity Franchise Required. The Producer has notice that if the negotiation for, or
   the obtaining of this contract by, the Actor is through any employment agent or
   personal representative not holding an Equity Franchise, or one whose Franchise is
   not in good standing, the Actor is liable to suspension or other disciplinary action.
   (B) Commissions. Should the Producer contact the Actor directly and agree with the
   Actor as to the salary and role, the Producer shall not directly or indirectly require an
   Agent to intervene to complete the engagement or require the Actor to sign the
   contract at or through an Agent's office. Any such Agent so engaged does not
   represent the Actor, and should such Agent make a claim for commission, the Actor
   will notify the Producer accordingly, and the Producer agrees to indemnify the Actor
   and hold him harmless from any such claim.
   (C) Agents Acting as Casting Consultants. Any Agent who acts as an Agent for a
   Producer, either as a casting consultant or otherwise, with or without fee, does not,
   if the Actor secures employment through him, represent the Actor in securing said
   employment and is not entitled to commissions therefore from the Actor.
   (D) Chorus Commissions Prohibited. Actors engaged under a Chorus contract or
   performing as Chorus shall not pay commissions to any Agent, except in
   accordance with the existing Equity Agency Regulations.

3. ALIENS.
   Non-resident aliens may not be employed without the express consent of Equity.

4. ARBITRATION.
   Any controversy arising from the application or interpretation of this Agreement or
   affecting the relationship between any Actor and the Producer, or Equity and the
   Producer, including disputes as to the existence or validity of any employment
   contract, shall be submitted to arbitration in accordance with the Voluntary Labor
   Arbitration Rules of the American Arbitration Association to be held in Los Angeles
   County.
   The following permanent panel of Arbitrators shall be maintained to hear
   Arbitrations hereunder:
   Edgar A. Jones                     Howard Block                    George Marshall
   Fredrick Horowitz                  Mark Burnstein                  Louis Zigman
   Anita Christine Knowlton
   Selection shall be made in accordance with their ability to provide the earliest dates
   agreeable to the parties or necessary to obtain the expedited arbitration provided
   herein. If the availability of the arbitrators is equal, the American Arbitration
   Association shall have authority to appoint any one as arbitrator.




                                            2
   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
   arbitrable under the provisions of this Agreement.
   Mutual expenses of the arbitration, including, but not limited to, filing fees, the
   compensation of the arbitrator, and the cost of the room will be equally shared by
   Equity and the Producer.
   Nothing herein shall be construed to give the arbitrator the authority to alter, amend
   or modify any of the provisions of this Agreement. The issue of "best efforts" shall
   not itself be arbitrable.
   Should the Producer dispute a ruling by Equity, it must demand arbitration within
   two weeks of notice to it of said ruling. Failure to do so constitutes agreement with
   said ruling and an acknowledgment that Equity may deduct any monies due as a
   result of said ruling from any security posted with Equity by the Producer. The
   Producer further agrees to replace said amount deducted immediately upon
   demand by Equity.
   Equity shall act on behalf of the Actor in any arbitration proceedings in accordance
   with Equity's Constitution and By-Laws; and, no Actor is authorized to commence
   any arbitration proceeding except with the consent of Equity.
   Producer shall supply Equity with and keep current its local address, and agrees
   that valid and effective service of all documents initiating the Arbitration, service of
   all documents during the Arbitration, serving of the Award itself, and serving any
   document or pleadings in a court proceeding relating to the Arbitration or the
   Petition and the order Confirming an Arbitration Award may be had by placing a true
   copy thereof enclosed in a sealed envelope with postage thereon fully prepaid, in
   the United States mail directed or addressed to said address as last stated to the
   Equity office by the Producer or to its last known business address on file at the
   Equity office by certified mail.

5. AUDITIONS AND INTERVIEWS.
   (A) General Provisions.
       (1) The Producer shall hold Principal auditions or interviews, Stage Manager
       interviews, and, for productions utilizing Chorus, Chorus auditions. The
       following conditions shall apply:
           (a) Among the auditions or interviews held, there shall be auditions or
           interviews for Equity performers;
           (b) The Producer is under no obligation to hire any person pursuant to any
           Principal interview or audition procedures including the procedures for
           Equity Actors set forth below.
           (c) Chorus and Principal auditions shall take place prior to any agent
           submitted auditions.




                                            3
        (d) In the case of callbacks, the Producer will make available any special
        material requested by the Producer at no cost to the Actor at the time of
        notification.
    (2) When auditions are held in premises that are not architecturally accessible,
    the Producer, upon notification by either Equity or a performer with a mobility
    impairment who wishes to audition, shall arrange for an accessible facility for
    the audition.
    (3) When a deaf performer is sought, the Producer shall provide, during the
    audition, qualified interpreter for the deaf (i.e., an interpreter qualified or certified
    in sign language or oral interpretation).
    (4) For blind and visually impaired performers who notify Producer in advance,
    all audition material shall be available at a place to be designated by the
    Producer, at least 48 hours in advance of the audition.
(B) Equity Procedures. Interviews or auditions for Equity Actors shall be conducted
in accordance with the following:
    (1) For each production the Producer will hold one day of Principal auditions
    and one day of Chorus auditions in Los Angeles or San Francisco, at an
    approved location. In consultation with Equity, the Producer may modify the
    requirement of one day per show auditions. If such modification is granted, the
    Producer must hold at least a seasonal audition in Los Angeles or San
    Francisco. If the Producer is located in a city that is an area liaison city, these
    Producers must hold auditions in that city as well. In either case, the Producer
    will notify Equity no less than three weeks prior to the audition of the time and
    place of the audition.
    If any types of auditions (EPA’s, Chorus Calls, Agent Calls) are to be held in
    New York, auditions must also be held in Los Angeles or San Francisco. EPA’s
    and Chorus Calls must always be held before Agent Calls.
    (2) The Producer shall not hold auditions or interviews on any day when an
    Equity meeting is scheduled, provided that Equity notifies at least two weeks in
    advance of such meeting.
    (3) Principal Auditions or Interviews.
        (a) Each Actor shall have up to three minutes to audition using material of
        the Actor’s own choice within categories set by the Producer. Each Actor or
        Stage Manager shall have up to three minutes for an interview should the
        Actor elect to have a Principal interview.
        (b) An individual with casting authority shall be present at all times during
        auditions/interviews. To that end, auditions and interviews will be conducted
        by the Producer, director, choreographer, musical director, assistant
        director, author or professional casting director designated in writing by the
        Producer.
        (c) When the Producer conducts its own auditions or interviews, Producer
        shall be limited to three in number for a Principal Actor. Thereafter, the


                                           4
    Producer shall pay to the Actor a fee of $25.00 plus transportation, for each
    of the fourth, fifth, and sixth auditions or interviews and for each audition or
    interview following, 1/6th of the Producer’s basic minimum salary plus
    transportation.
    (d) Prior to the season, the Producer shall supply to Equity a list of the
    plays, directors, casting director, or casting consultant, list of parts not cast
    (for a new play include character descriptions) and first rehearsal dates, if
    known. Any information not available at the time of the foregoing will be
    supplied when known. Equity will circulate this information and Actors and
    Stage Managers are encouraged to send their pictures and/or résumés to
    the Producer.
    (e) The Producer shall make best efforts to see Actors who may be visiting
    the city where the Producer is located.
(4) Equity Chorus Auditions.
    (a) For productions in which Equity performers are required to sing, there
    must be an audition for singers at which performers musts be given an
    opportunity to audition in their primary skill before they may be requested to
    move or dance. In productions in which Equity performers are required to
    dance, there must be an audition for dancers at which performers must be
    given an opportunity to audition in their primary skill before they can be
    requested to sing.
    (b) Each Equity performer who auditions for Chorus may be required by the
    Producer to attend three days of Chorus auditions. Thereafter, the Producer
    shall pay to the Actor 1/6th of the Producer’s basic minimum salary plus
    transportation for each such audition day over three.
    (c) Auditions may be held on three separate days. At the first audition
    Chorus performer may be typed, asked to dance and/or sing; after the
    Chorus performer has been auditioned for dancing and/or singing, the
    performer may be asked to read for Chorus parts and/or understudy. At the
    second and/or third audition, Chorus performer may again be asked to do
    all of the above.
    (d) If these three days are not consecutive, the Chorus performer shall not
    be required to report for any purpose on the intervening days.
    (e) If, at the second or third audition, selection of a Chorus performer to be
    engaged for the production is to be determined at a final match-up, then the
    Chorus performer retained for the match-up, from the earlier audition that
    day, shall be released following his selection and be free until match-up,
    except if required to read a part or understudy.
    (f) The Producer shall conclude the audition within an eight-hour span from
    the first call on that day. In the event any audition exceeds eight hours from
    the time of the Chorus performer’s first call, the performer shall receive 1/6th
    of minimum salary as compensation for such day.



                                     5
        (g) For each auditioned performer, there shall be a break of at least one-
        hour after not more than five consecutive hours of audition. For each ½
        hour, or part thereof over five hours, without a break, the performer shall be
        paid $20.00 until such break is given.
(C) Equal Employment Opportunity.
    (1) It is the intention of the parties that auditions/interviews shall be conducted
    in a manner that continues to promote fair consideration to ethnic minorities
    (African-Americans, Hispanic-Americans, Asian-Americans and Native
    Americans), women, seniors and performers with disabilities. Toward this end,
    the Producer agrees that casting of all productions will be conducted in a
    manner that provides full and fair consideration to ethnic minorities, women,
    seniors, and performers with disabilities.
    It is the intent of the parties that casting for all roles shall be made without
    regard to race, color, national origin, creed, disability, gender or sexual
    orientation. It is the desire of the parties that the stage reflect a multi-cultural
    society. In furtherance of this policy, and with due regard for the requirements of
    and suitability for a job, the producer shall endeavor to hire ethnic minorities,
    women, seniors and performers with disabilities.
(D) Non-Discrimination.
    (1) The Producer shall not practice discrimination against any Actor on the basis
    of race, color, creed, national origin, gender, sexual orientation, political
    persuasion or belief, age or disability of such Actor.
    (2) The Actor shall not be required to perform in any Theatre or other place of
    performance where discrimination on the basis of race, color, creed, national
    origin, gender, sexual orientation, political persuasion or belief, age or disability
    is practiced against any Actor or against any patron as to admission to or
    seating in such Theatre or other place of performance.
(E) Non-Traditional Casting.
    (1) The parties hereto affirm commitment to an inclusive casting policy known
    as Non-Traditional Casting. Non-Traditional Casting is for the purpose of
    increasing employment for ethnic minorities, females, seniors and performers
    with disabilities, and is for the casting of such performers in roles where race,
    age, ethnicity, gender or the presence or absence of a disability is not germane
    to either the play or the character’s development.
    (2) In furtherance of this goal, the Producer agrees to make a determination of
    non-traditional casting opportunities, taking into consideration any suggestions
    made by Equity, and to identify for use in all published casting notices and in
    the Producer’s announcement to agents and casting directors roles available for
    non-traditional casting and to actively solicit the participation of ethnic
    minorities, females, seniors, and performers with disabilities. The foregoing
    constitutes an expression by Equity and the Producer of their desire to
    encourage and promote inclusive employment practices.



                                         6
    (3) Producer agrees to encourage all Directors, Choreographers and Casting
    Consultants in the Producer’s employ to select in accordance with the policy
    outlined in 5(C)(E). Furthermore, the Producer will provide a statement of this
    non-traditional casting policy to all Directors, Choreographers, and Casting
    Consultants.
(F) Performers with Disabilities.
    (1) When a role to be cast depicts a person with a specific disability, the
    Producer shall include this information in the casting specifications and, at the
    same time, shall notify Equity of such specifications so that performers with
    similar disabilities shall be informed and given the opportunity to audition for the
    role.
    (2) When a Producer holds auditions in premises which are not architecturally
    accessible for performers with disabilities, Producer will, upon notification by
    Equity or by a performer with a disability who wishes to attend the audition,
    arrange for appropriate facilities to accommodate performers with disabilities.
    (3) When a deaf performer is sought the Producer shall provide, during the
    audition, a qualified interpreter for the deaf (one qualified or certified in sign
    language or oral interpretation).
    (4) All audition material provided by the Producer shall, upon request, be made
    available to blind and visually impaired performers at a place to be designated
    by the Producer at least 48 hours in advance of the audition.
(G) Records.
    The Producer will maintain for each production records of ethnic minorities,
    women, seniors and performers with disabilities auditioned, interviewed, hired,
    and/or replaced and will forward such records to Equity within 30 days of the
    final performance of the season. Equity will provide the applicable form.
(H) Additional Equity Provisions.
    (1) Auditions Code/Safe and Sanitary Provisions. When auditions are held in
    studios, the Producer shall provide:
        (a) A room other than the audition room which shall have seats and open
        space where the Actor may wait and/or warm up for the audition.
        (b) Separate change facilities (not lavatories) for men and women at any
        audition at which they are required to dance.
        (c) An audition room, change room and/or waiting room which is properly lit,
        ventilated and heated during hot or cold weather to a temperature range
        between 70 and 76 degrees Fahrenheit.
        (d) Producer shall ensure that cool drinking water be available.
        (e) Dance surfaces at the place of the audition(s) shall comply with Rule
        47(H), SAFE AND SANITARY PLACES OF EMPLOYMENT, Dance
        Surfaces.



                                         7
    (f) Smoking shall not be permitted in the interview, audition, or waiting
    room.
    (g) When auditions are held in the Producer’s facility, the Producer shall
    provide conditions similar to those described above.
(2) The Producer agrees:
    (a) Equity shall have the right, in consultation with the Producer, to
    schedule auditions so that no more than two productions hold their first or
    final call (audition) on the same day, in the same city, or call the same
    category (singer or dancer) at the same time.
    (b) To audition singers (male and female) and dancers (male and female)
    separately at the first call for Chorus Actors, and that Equity shall be notified
    in writing, at least three weeks in advance of the audition, of the time, place
    and group called. Dancers shall be auditioned as dancers before they are
    auditioned as singers. Singers shall be auditioned as singers before they
    are auditioned as dancers.
    (c) The Producer shall not halt the continued progress of a Chorus audition
    to audition an Actor for a Principal role or, except at the finals, to have
    Chorus Actors read for a part or understudy during the time of the Chorus
    audition.
(3) The Producer shall provide liability insurance at all auditions for Equity
performers.
(4) The Producer shall provide a pianist proficient in the skill of accompanying
and whom can sight read at all auditions at which the Actor is required to sing
and/or dance.
(5) Cast Breakdown of New Musicals. [See also Rule 14(C), CONTRACT.]
    (a) The Producer shall furnish to Equity, as soon as they are available, the
    script(s) of any scheduled new musical(s) and/or new adaptations of
    scheduled musical productions.
    (b) Together with the cast breakdowns of Principal roles, number of Chorus
    and a schedule of all functions for which Chorus Actors shall receive
    additional payments.
    (c) Equity shall respond to the Producer with its breakdown of Principal and
    Chorus parts.
    (d) Where differences exist, the Producer shall contract Principals and
    Chorus Actors in accordance with Equity’s breakdown determination. Final
    determination of Principal and Chorus breakdowns shall be made by Equity
    when the production is “frozen,” and contracts shall be changed, if
    necessary, to reflect this final determination.




                                     8
6. BAGGAGE.
   (A) The Producer agrees to pay the cost of transporting two full-sized suitcases,
   plus two pieces of hand luggage that fit in overhead luggage racks.
   (B) Actors shall not ship luggage and submit the bill to the Producer without prior
   approval from the Producer.
   (C) The Producer shall determine the method of shipment for any baggage being
   transported beyond the weight limits allowed by the airline, railroad or bus company.
   (D) The Actor shall be responsible for transporting his personal hand baggage to
   and from the station or airport in the place of engagement. The Actor shall take the
   most reasonable and expeditious mode of transportation and without prior expense
   approval, the Producer shall reimburse the Actor for the actual cost up to $50.00
   each way as set forth and itemized.

7. BILLING.
   (A) House Boards.
       (1) The names of all Actors under Equity contract for the production currently in
       performance shall be listed in non-preferential order on the house boards in
       front of the theatre in letters no less than one-half inch in height wherever house
       boards are maintained and within the limitations of the existing facilities on said
       house boards.
       (2) The Producer agrees, in instances where there is no house board outside
       the theatre, to place one prominently inside the lobby.
   (B) When Actor Leaves Cast.
       (1) When an Actor leaves a cast, the Actor’s name and/or likeness (in
       photographs portraying three Actors or less) must be removed from all front-of-
       the-house boards and frames where the show is playing, as well as from all
       frames at other theatres. The removal shall be made prior to the first
       performance of the Actor's successor. Should the Producer fail to comply with
       this rule within three days after the Actor, his successor and/or Equity gives
       written notice of failure to remove the name and/or likeness, the Producer shall
       pay the Actor currently performing and the Actor whose name and/or likeness
       has not been removed, an additional 1/8th of their respective weekly salaries for
       each day that the Producer has not complied with the rule.
       (2) When individual photographs of any cast member not under Equity contract
       are displayed, every person under Equity contract will have his individual
       photograph displayed if the Actor provides such photograph. Production shots
       do not apply.
       (3) In connection with all other advertising and display media under the
       Producer's control, it shall exercise reasonable diligence in removing the name
       and/or likeness of the Principal Actor no longer in the cast.



                                           9
   (C) Breaches of Billing.
       (1) All provisions pertaining to billing of the Principal Actor shall be specific. If
       billing is contingent on the billing of any other Principal Actor, such contingency
       shall be clearly and succinctly set forth in the contract.
       (2) Whenever a breach of a billing clause contained in an Actor's individual
       contract is claimed, Equity shall notify the Producer in writing of said breach. If
       the breach is not corrected within three business days of receipt of the written
       notification, except as provided below, the Producer shall pay to the Actor a
       sum equal to 1/8th of the Actor's salary for each week that the breach continues
       beyond the third day. If the breach involves billboards, including those on
       busses, the time interval for correction shall be extended to two weeks.
       Exempted from this provision shall be posters on unpaid locations, commonly
       known as sniping. If the breach involves billing in a magazine or similar
       publication, and the Producer does not correct an error in billing when notified
       three or more business days prior to the press deadline, it shall pay to the Actor
       a sum equal to 1/8th of the Actor's weekly salary. If the breach involves billing in
       a newspaper, and the Producer does not correct an error in billing when notified
       48 hours or more, prior to the press deadline, it shall pay to the Actor a sum
       equal to 1/8th of the Actor's weekly salary.

8. BINDING EFFECT OF AGREEMENT.
   (A) Agreements between Producers and so-called “packagers,” casting consultants,
   agents or manager’s representatives shall in no way limit or reduce the Producer's
   liability or responsibility to fulfill all terms and conditions of Equity contracts to which
   the Producer is signatory.
   (B) All contracts signed pursuant to these rules are binding upon not only the
   signers on the face thereof, but also upon any and all corporations, co-partnerships,
   enterprises and/or groups which said signers control, and are hereby agreed to be
   adopted as their contracts by each of them.

9. BLACKLISTING.
   (A) The Producer and Equity both pledge themselves to prevent blacklisting.
   Opposition to blacklisting is not a controversial issue between the Producer and
   Equity.
   (B) Blacklisting for the purposes of this rule shall mean the submission by the
   Producer, directly or indirectly, to individual or group pressure, and/or the use of
   private lists, published or unpublished, of persons not to be employed in theatrical
   productions for reasons having no direct relation to their theatrical ability.
   (C) If it is determined in an arbitration that the Producer has blacklisted an Actor as
   defined above, the Producer agrees to pay to the Actor losing his employment as a
   result of blacklisting, his full contractual salary for the duration of the contemplated
   engagement, plus a sum equivalent to the full contractual salary of the successor or
   successors, or $1,000.00, whichever is the greater.


                                             10
10. BREACHES BY PRODUCER.
   (A) Breaches by the Producer include, but are not limited to, the following:
       (1) Should the Producer breach an individual contract of employment, or any
       part thereof; breach or fail to abide by or conform to any rule which is a part of
       the employment contract of any Actor;
       (2) Make any false statement in connection with any employment agreement or
       regarding security;
       (3) Employ or have employed any Actor under any form of contract other than a
       standard form;
       (4) Be in default as to any employment contract with any Actor under Equity
       contract, or breach any such employment contract, past or present;
       (5) In the future, breach of any such employment contract;
       (6) Fail to give or deposit security at the time and in the form and amount
       required by Equity;
       (7) Otherwise breach or fail to live up to any contract of employment or Equity
       rule;
       (8) In the event of an act of default by the Producer, the Actor is released from
       his obligation to work. In this event the Actor may (Equity consenting) forthwith
       terminate the employment, and is released from his obligation to render
       services to the Producer. In addition, the Producer agrees that it will pay the
       Actor, in full, for all services rendered by Actor, plus any other sums to which
       the Actor may be entitled by contract or by this Agreement. In addition, as
       liquidated damages, Producer agrees to pay no less than a sum equal to two
       weeks' salary for Actors signed to Producer contracts. No offset shall be
       allowed the Producer for earnings of the Actor in a new or subsequent
       engagement as a result of liquidated damage payment.
   (B) Disputes as to the applicability of the foregoing paragraph shall be subject to the
   arbitration clause of this Agreement and neither Equity nor the Actor may finally
   determine any questions of violation or breach on the part of the Producer, except
   as to violations of Rule 10(A)(3) and 10(A)(6), BREACHES BY PRODUCER. In the
   event of the Producer’s breach of Rule 10(A)(3) or 10(A)(6), BREACHES BY
   PRODUCER, Equity may intervene, without penalty to itself, and require the Actor
   to perform or rehearse or not perform or rehearse under such terms and conditions
   as Equity may consider just and equitable.
   [See Rule 39(G), PROGRAM AND SOUVENIR PROGRAM, for Changes in Cast
   and Rule 44, REPLACEMENT OF THE ACTOR, for Replacement of the Actor.]

11. CLAIMS.
   (A) Waiver or Release Not Permissible. Upon any claim of the Actor arising under
   his agreement through any breach thereof, no receipt, waiver, release or adjustment
   by the Actor is of any validity whatsoever, unless Equity consents in writing and the


                                           11
   Producer, by agreeing to this rule, agrees that it will not seek or solicit any such
   waiver, release or settlement, nor offer the same in any arbitration or any
   proceeding in court unless Equity specifically consents in writing. In no case shall
   claims of members under employment contracts be handled or enforced by agents
   or attorneys of members unless same are consented to by Equity in writing.
   (B) Time Limit in Lodging Claims. Should the Actor deem that he has any claim
   against the Producer under his contract, he shall present the same to Equity or to
   the Producer within four weeks after the time when such claim shall have arisen
   unless he shall give to Equity and to the Panel of Arbitration a good and sufficient
   reason for any delay after such period of four weeks.

12. CLOTHING AND COSTUMES.
   (A) The Producer shall provide all costumes and clothing except modern
   conventional undergarments. All clothing provided by the Producer shall be clean,
   sanitary, and in good condition.
   (B) Footwear.
       (1) The Producer shall provide properly fitted footwear. All footwear shall be
       clean, sanitary, and in good repair.
       (2) Dance Shoes. Producer will make best efforts to provide all footwear used
       for dancing as soon as possible but no later than one week prior to dress
       rehearsal. Such footwear shall be rubberized and braced when Equity deems
       necessary and shall be of suitable construction for dancing when used for
       Contemporary Theatre Dance Movement, i.e., classical, ballet, modern, jazz,
       ethnic, etc. During rehearsals, the Producer shall furnish at least one pair of
       pointe shoes for each Actor called upon to dance in pointe shoes. New pointe
       shoes shall be provided to the Actor in a timely fashion mutually agreed upon by
       the choreographer, dancer, Producer and Equity.
       The Producer shall provide new properly fitted professional dance shoes for all
       members of the company who are required to dance. Dance shoes may
       represent the period of a production or nature of a specific character (e.g.,
       sneakers in WEST SIDE STORY; athletic shoes in DAMN YANKEES) which
       must conform to the appropriate style of the movement. All footwear shall be of
       suitable construction for dancing when used for Theatre Dance Movement.
       Professional dance shoes are not required for normal ballroom dancing or
       where there is minimally choreographed movement. The Producer will make
       best efforts to provide professional dance shoes at least one week prior to
       dress rehearsal. In no case will this footwear be provided less than three days
       prior to dress rehearsal.
           (a) The Producer shall furnish pointe shoes with ribbons for all rehearsals
           and performances requiring pointe shoes. The Producer shall furnish at
           least one pair of pointe shoes for each member of the cast called upon to
           dance in pointe shoes. New pointe shoes shall be provided sufficiently in
           advance of their use to allow the Actor adequate time to break in the shoes.


                                         12
        (b) Shoes for dancing shall be rubberized and braced and shall be repaired
        or replaced whenever necessary.
(C) Kneepads and Protective Clothing. Prior to any activity that requires knee and
elbow pads and protective clothing, the Producer shall furnish new and properly
fitted (i.e. small, medium, or large) items for the exclusive use of the Actor for all
rehearsals and performances.
(D) Make-up. The Producer shall provide all make-up except ordinary and
conventional make-up. If the Actor is required to use body make-up, the Producer
shall furnish clean cloth towels for the removal of such make-up. [See Rule
47(B)(4), SAFE AND SANITARY PLACES OF EMPLOYMENT.]
(E) Rental. No Actor shall rent or lend any wardrobe to a Producer for use in any
production unless the terms of the rental, based on the WCLO Agreement Rental
Schedule agreed upon in writing between Equity and the Producer, are stated in the
Actor's contract of employment or in a rider thereto. The agreed-upon payment shall
be made to the Actor separate from but with the Actor's weekly salary. The following
shall be used as a minimum guide in those instances where the Actor is requested
to furnish his own clothing for any production. It is understood that such payment is
made as a rental fee.
       Item                                                        Minimum
                                                                  Weekly Fee
       Blouse                                                            $2.00
       Boots                                                           $10.00
       Coat                                                              $5.00
       Dance Shoes: (Professional jazz shoes, Character shoes,         $10.00
                         Tap shoes, Pointe shoes, Dance boots)
       Dress                                                             $5.00
       Ensemble (Shirt, Tie, Suit, Shoes, Etc.)                        $30.00
       Hat                                                               $2.00
       Jeans                                                             $2.00
       Pedal Pushers-Knickers                                            $2.00
       Shirt                                                             $2.50
       Skirt                                                             $5.00
       Shoes                                                             $8.00
       Shorts                                                            $2.00
       Slacks                                                            $5.00
       Sneakers                                                          $8.00
       Suit                                                            $20.00


                                         13
         Sweater                                                            $3.00
         Tie                                                                $1.00
         Wig/Hair Piece                                                    $15.00
  (F) Cleaning.
      (1) Costumes or clothing used in a production shall be freshly cleaned when
      delivered to the Actor and cleaned thereafter whenever necessary, but not
      longer than two weeks. Spot cleaning, when required, shall be completed in
      time to allow at least four hours for drying and airing prior to the half-hour call.
      (2) Stockings, undergarments, undershirts and other conventional "Skin Parts"
      of costumes and/or clothes shall be new when issued to Actor. “Skin Parts”
      shall be laundered or cleaned for each performance. “Skin Parts” are to be
      defined as any costume pieces that touch the skin. Costumes are not
      considered “Skin Parts” when worn with foundation garments such as T-shirts
      or undergarments. Laundered items shall be completely dry and delivered prior
      to the “half-hour” call.
      (3) Costume parts that are damp due to perspiration shall be dry for each
      performance whenever practicable.
  (G) Change of Hair Color. The Actor may not be required to change the color of his
  hair unless he agrees in writing. If he agrees, the Producer shall pay the expense of
  changing the color and of its upkeep during the run of the engagement, and the cost
  of the restoration to the original color at the close of the engagement.
  (H) Change of Hair Style. The Actor may not be required to cut or change the style
  of his hair in any way, or to shave his head, unless he agrees in writing. He may,
  however, be required to let his hair grow, or he may be required to grow a beard
  provided he agrees in writing. If he agrees, the Producer shall pay the original
  expenses and the expenses of the upkeep of said hair or hair style.
  (I) Hairpieces, Wigs and Facial Masks. Beards and hairpieces furnished by the
  Producer shall be freshly cleaned when delivered to the Actor and cleaned
  thereafter whenever necessary but at least once every three weeks. Lace on all
  beards, mustaches, and hairpieces shall be cleaned daily. No Actor will be required
  to use a facial mask, wig, or hairpiece (including a beard or mustache) which has
  been worn by another Actor until it has been properly fitted, thoroughly cleaned,
  dried and aired. New protective breathable liners must be inserted into facial masks
  whenever a replacement or understudy uses another Actor’s facial mask. Each liner
  must be for the exclusive use of one Actor. All liners must be laundered and
  thoroughly rinsed and dried before every use.

13. CONTINUOUS EMPLOYMENT.
  Continuous employment of the Actor is of the essence of all employment contracts.
  Employment thereunder shall begin on the date of the beginning of rehearsals or
  required date of arrival, if earlier, and shall continue until terminated as herein
  provided, and not otherwise. All calculations of sums due, or benefits accruing to


                                          14
   the Actor, shall be computed on the basis of consecutive rehearsals and
   consecutive employment.

14. CONTRACT.
   (A) Required Number of Contracts. For the term of this Agreement each production
   of the Producer will have no fewer than 20 Equity contracts, of which one will be for
   the Stage Manager, one will be for the Assistant Stage Manager, and no fewer than
   eight will be for Chorus.
   (B) Filing Contract. No Actor may begin employment unless a standard form of
   contract has been filed with Equity.
   (C) Determination of Classification. Equity has the sole right to determine whether
   an individual is correctly classified as a Principal, Chorus, Stage Manager, Assistant
   Stage Manager or Extra, and the Producer agrees that Equity's determination shall
   be final. [See also Rule 5(H)(5), AUDITIONS AND INTERVIEWS.]
   (D) Signing Of. Unless a contract is signed concurrently, it must be signed by the
   Producer first. The Producer may, at the time it sends the contract to the Actor,
   notify the Actor in writing that unless the contract is signed, returned and
   Postmarked to the Producer no later than three business days after the Actor
   receives it, the contract is null and void.
   (E) Changes and Alterations. The Actor has no right or power to waive any of the
   minimum conditions set forth in the employment contract or these rules without the
   written consent of Equity. Unless any and all riders, changes, alterations, waivers or
   substitutions from or under these rules made prior to, when or after the contract of
   employment is made shall have been consented to by Equity in writing, such riders,
   changes, alterations, waivers or substitutions, or any part thereof, are void, at the
   option of the Actor, Equity consenting. It shall be the duty of the Producer, not the
   Actor, to submit proposed changes to Equity for its written approval by a duly
   authorized representative. The Producer shall also be responsible for notifying the
   Actor personally of any proposed change or alteration to his contract, particularly in
   the matter of casting assignments. At the option of Equity, no riders, changes,
   alterations, waivers or substitutions rejected by Equity shall be admitted in
   evidence, in any arbitration, or by any tribunal for the disposition of any claim,
   without the written consent of Equity.
   (F) Completing Contracts.
       (1) If the Actor agrees to appear in a production “As Cast,” the part assigned
       and performed at the first public performance shall be deemed the Actor's
       assignment for that production and may not be changed or added to without an
       agreement in writing. At least one part should be specified in the Principal
       contract at the time of signing. Should the Actor's assignment be changed, no
       additional compensation will be required, but if the Actor is given additional
       assignments, the Actor shall be compensated in accordance with Rule 48(D)
       and Rule 48(L), SALARIES.




                                          15
       (2) The Producer agrees that all blanks, including opening date, name of
       part(s), salary and required date of arrival, will be filled in writing before signing
       or delivery.
       (3) All concessions or waivers granted to the Producer shall be made known to
       the Actors and Stage Manager at the time of audition, interview or initial contact
       unless the Agreement with Equity is not yet finalized, in which case all
       concessions and/or waivers will be identified as “pending.”
       (4) The Producers agree to indicate on the face of the contract or in a rider the
       dates of an overnight tour, if known.
   (G) Quadruplicate Contracts. Immediately after entering into any employment
   contract, the Producer shall file with Equity an exact quadruplicate copy thereof.
   Should it not do so, the Actor may at any time, Equity consenting, terminate the
   same without notice and the Producer shall pay to the Actor such amount as he
   may be entitled to under the rules for a breach thereof.
   (H) Failure by Producer to file a properly executed and signed AEA contract shall
   constitute a breach of this agreement entitling Equity among other things and
   without limitation to refuse to release the balance of the security deposited with
   Equity until the above requirement is met. In the event an Actor fails to sign his
   contract, the Producer agrees to file a copy with the Producer’s signature only.
   (I) Attempted Breach.
       (1) No Actor shall agree with a Producer, Employment Agent, Personal
       Representative or other Actor, and no Producer shall agree with any Actor,
       Employment Agent or Personal Representative to cause or attempt to cause, or
       agree to permit, any breach of any term of any employment contract.
       (2) Should any Equity member engage in such conduct, he shall be subject to
       such disciplinary action as Equity may determine.
       (3) Should any Producer be found by an Arbitration Panel to have engaged in
       such conduct, said Producer agrees that such conduct on its part shall be a
       breach of its Employment Agreements with Actors, entitling any such Actors to
       recover from the Producer, Equity consenting, a sum equal to two weeks' salary
       as liquidated damages, no present basis of calculation existing. The Producer
       further agrees that upon such breach, its name may be posted on the
       Defaulting Employer’s List at Equity.
       (4) In the event of a recovery of liquidated damages by or on behalf of the
       offending Actor, the same shall be paid into the Actors' Equity Foundation.

15. DANCE CAPTAIN.
   Whenever there is choreography and/or musical staging in a production, a Dance
   Captain shall be required, and paid from the first date of assignment but in no event
   later than the first day of rehearsal. The Dance Captain shall be paid not less than
   16% of the then prevailing WCLO minimum salary in addition to the weekly
   contractual salary.


                                            16
   (A) For Dance Captains, after official opening, a total of 10 rehearsal hours per
   week is allowed.
   (B) The Stage Manager shall not serve as a Dance Captain.
   (C) The Dance Captain shall receive billing on the page where the complete cast is
   listed.
   (D) Assistant Dance Captains (in “Pre-Broadway”/Production Tryouts and tours only)
   shall be paid not less than 12% of the then prevailing WCLO minimum salary in
   addition to the weekly contractual salary. [See Rule 37(F) “PRE-
   BROADWAY”/PRODUCTION TRYOUTS.]

16. DEFAULTING EMPLOYERS.
   (A) Any Producer engaging any Actor represents that such Producer is not in default
   under any Agreement with Equity at the time of such engagement, and that no
   contract has been entered into between said Producer and Equity or any Actor, any
   breach of which remains unsettled or unliquidated. For the purpose of this
   paragraph, the subject matter of a dispute currently in arbitration, or for which a
   notice of arbitration has been given, shall not be deemed an “unsettled” or
   “unliquidated” breach.
   (B) No Actor shall work or be required by any Producer, without the consent of
   Equity, to work for any person, co-partnership, corporation, enterprise or group
   which has failed to abide by any arbitration award or, where permitted herein, any
   final determination of Equity, or which, through failure to meet past obligations to
   Equity or its members, has been placed on Equity's Defaulting Employer’s List; nor
   shall any Actor work for or be employed by anyone who is or has been connected,
   either as an individual proprietor, general partner, associate producer, corporate
   director or officer, or active stockholder with any defaulting management so
   specified, without the consent of Equity.
   (C) Should a Producer remain in default of salaries or other monies due an Actor on
   Equity contract for a period longer than one year, the Producer agrees that 5%
   interest, compounded annually, beginning one year after the default and ending
   when the claim is paid, shall be added to and payable as part of said claim. If an
   Actor under Equity contract is adjudged by Equity or an Arbitration to be in default to
   a Producer, interest will accrue on said default in the same manner as above.

17. DEFINITIONS.
   (A) Actor. The term “Actor,” as used in this Agreement, shall refer to and include
   persons who are under an Equity contract, including Principals, Chorus, Stage
   Managers, Assistant Stage Managers and Understudies.
   (B) Principal Actor. The term “Principal Actor” shall include all Actors hired on Equity
   contracts other than those Actors engaged on Chorus contracts, and/or engaged to
   perform Chorus work.




                                           17
   (C) Chorus. The term “Chorus,” “Chorus member,” “member of the Chorus,” “Actor
   engaged under a Chorus contract,” “Chorus Actor” and “Chorus Performer” shall
   include Actors engaged under Chorus contracts and/or Actors actually performing
   Chorus work, as may be determined by Equity.
   (D) Stage Manager and Assistant Stage Manager. The terms “Stage Manager” and
   “Assistant Stage Manager or ASM” shall mean any individual engaged on contract
   as a Stage Manager or Assistant Stage Manager, respectively.
   (E) Extras. [See Rule 23, EXTRAS.]
   (F) Part. The term “part” shall mean each character, specialty, or function for which
   the Actor is responsible.
   (G) Producer. The term “Producer” as used herein is the equivalent of the term
   “Guarantor” appearing in Equity forms.
   (H) Role. The term “role” shall mean the sum of the parts, specialties, functions and
   assignments for which a Principal Actor is responsible.
   (I) Gender. All references in this Agreement to “Actor” or “he” (and himself, his,
   etc.) shall be deemed to refer to both genders.

18. DISABILITY LEAVE.
   Any Actor who becomes disabled during the course of Actor’s employment in the
   production shall be eligible for Disability Leave in accordance with the following
   provisions:
   (A) An Actor who is unable to work may request an unpaid leave of absence for a
   period of up to 12 months.
   (B) Such request must be supported by an acceptable medical certificate indicating
   the time necessary for the leave.
   (C) Actors are eligible to request only one such leave for any single medical
   condition within any single production.
   (D) The Producer shall use best efforts to insure that the duration of the leave
   relates to the nature of the disability. However, in order to accommodate the needs
   of the production, the Producer may require that the leave be at least three months
   in length.
   (E) Actors on approved leave must notify the Producer at least one month prior to
   the expiration of the leave of their intention to return to work as scheduled or to
   resign.
   (F) When a disability leave is requested, Equity will advise the Actor about sick
   leave benefits, health benefits, medical coverage and, if applicable, the procedures
   for direct payment.
   (G) Prior to an Actor’s return from a leave, Actor will be required to establish that
   Actor is able to meet the artistic and physical requirements of the production. In
   addition, at Producer’s option, Actor may be required to submit to an appropriate


                                          18
   examination by Producer’s medical representative at the Producer’s expense. Actor,
   at Actor’s option, may seek a second opinion at Actor’s expense.
   (H) Actor’s salary on Actor’s return to the production will be the same as when the
   leave began, plus any increases required by the WCLO Agreement.
   (I) Temporary replacement Actors may be hired under “replacement contracts” for
   periods up to the full term of the leave.

19. DISCRIMINATION FOR UNION ACTIVITY.
   The Producer shall not dismiss or otherwise penalize any Actor for fulfilling his
   duties or obligations as a Deputy or an Equity member.

20. DUTIES OF THE ACTOR.
   (A) Actor shall file his contract with Equity in a timely manner.
   (B) The Actor agrees to be prompt at all calls including but not limited to rehearsals,
   costume and photo calls; to appear at the theatre no later than one-half hour prior to
   the performance; to pay strict regard to make-up and dress; to perform his services
   as reasonably directed, and sustained by the Stage Manager, and to conform to the
   language of the script to the best of his ability; to properly care for his costumes and
   props; to respect the physical property of the production and the Producer and to
   abide by all reasonable rules and regulations of the Producer which are not in
   conflict with the provisions of the Agreement. Repeated lateness or other infractions
   of the Equity rules shall subject the Actor to disciplinary proceedings, in accordance
   with the Constitution and By-Laws of Equity.
   (C) The Producer 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 without compensation; if any other
   right is thereby invaded, the Producer will be responsible for the applicable
   compensation unless the Actor waives said right. In the event of repeated lateness
   or other infractions of the Equity rules, a committee of five members of the company
   (three in small companies) drawn by lot, or by such other method as Equity may
   deem appropriate, may be formed to consider complaints.
       (1) Meetings of the committee shall not be held during rehearsal hours.
       (2) The complaint must be in writing.
       (3) The Actor complained of must be called to appear in person before the
       committee, and the Actor filing the complaint, shall be present if possible.
       (4) The committee shall read the complaint to the Actor, question him as to the
       validity of the complaint, and hear his reasons and any other statement he
       wishes 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
       in camera.




                                            19
       (6) If, after weighing carefully all the statements and replies, the committee finds
       the complaint unsubstantiated, or 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 Equity for final action in accordance with the Constitution
       and By-Laws of Equity.

21. EQUITY - SPECIAL PROVISIONS.
   (A) Special Power to Act for Actor.
       (1) Equity may represent Actors in any dispute which may arise with the
       Producer, and Equity may, at all times, represent Actors in relation to any
       matter arising under any Employment Agreement, and when any act or request
       or consent of any such Actor is provided for in such Agreement, the request,
       consent, or approval of Equity shall, for all purposes, be deemed the consent,
       request, approval or act of the Actors.
       (2) Whenever it is provided in any employment contract that any act or thing
       may be done by an Actor at the option of, or with the consent of, or at the
       request of Equity, or on the demand of or with the consent of such Actor,
       Equity, representing the Actor, has and is given the authority to act for and in
       place of the Actor and to assert his position or make his request or demand as
       the case may be, with all of the power and authority of the Actor himself, without
       liability to itself.
       (3) In all cases where, by virtue of any employment contract, the consent or
       approval of Equity is required, the Association has and reserves full
       discretionary power in giving its consent to change, modify or limit rights of any
       Actor under his contract, said action to be taken on behalf of the Association in
       writing by either the President or Executive Director or one of the executives
       especially authorized by either of said officers to act.
   (B) Meetings; Privilege of Actors to Attend. The Producer shall not require the
   services of the Actor for rehearsals (except in cases where dress rehearsals are
   being held or rehearsals on opening date) at any time when membership meetings
   as defined in the Constitution of Actors' Equity Association are being held. The
   Producer shall be notified by Equity as soon as such meetings are scheduled, but in
   no event shall notice be given later than two weeks prior to such meeting. Time off
   for this purpose shall not be counted as a part of that day's rehearsal.
   (C) Oral and Written Interpretations. Oral or telephone rulings made by Equity are
   not binding upon the Association, or except with its consent, upon the Actors.
   Written rulings or interpretations of the employment contract or this Agreement must
   be either approved or given by the President or Executive Director or one of the
   executives specifically authorized by either of said officers to act, and shall be




                                           20
   binding upon the Association only when said persons act within the powers
   delegated to them by the Council.
   (D) Council Powers. Should there be any conflict between any rules or any basis for
   more than one interpretation as to the meaning of any of them, the Council of Equity
   has the right to determine the correct interpretation or resolve the conflict, and its
   decision shall be binding upon Equity and the Actors.
   (E) Deputies and Representatives.
       (1) Each Company shall elect a Deputy. Deputies shall have the duty and
       obligation to report to Equity the total weekly hours worked, any overtime,
       and/or any violation of the rules.
       (2) There shall be a Deputy for Principal Actors and whenever a Chorus is
       employed, there shall be a Deputy (or Deputies) for Chorus Singers and Chorus
       Dancers.
       (3) Duly authorized representatives of Equity shall have free access to the
       stage and to all Actors at all times, inclusive of rehearsals and performances.

22. EXCLUSIVE SERVICE OF THE ACTOR.
   Except as otherwise provided for in the contract of employment, the Actor shall not
   accept any other engagement in the legitimate and/or musical comedy fields which
   conflict with the Actors' duties under his contract from the date of beginning of
   rehearsals and until the contract is lawfully terminated, without the written consent
   of the Producer. The Actor shall not have the right to accept employment in
   television, motion pictures or other employment that conflicts with the fulfillment of
   his duties under his contract.

23. EXTRAS.
   Definition. The function of an Extra is to provide atmosphere and background only.
   An Extra may not be identified as a definite character, either singly or within a
   group. An Extra may be required to change make-up and may be required to make
   four costume changes. An Extra may not be rehearsed more than two weeks before
   the first public performance, may not speak except “in omnes,” may not sing (except
   with the consent of Equity in relation to a particular play), dance or understudy, and
   may not tour.

24. FORMS.
   Equity will forward to the Producer copies of all new and/or changed forms in
   advance of their promulgation. No form, including Bond or Security Agreement,
   issued by Equity, regardless of its contents, shall modify, affect, change, alter or
   influence the text or meaning of any rule in this Agreement.




                                          21
25. HEALTH FUND
   (A) The Producer agrees to contribute to the Equity-League Health Benefits Trust
   Fund the sums listed below or the actuarial rate, whichever is less, per week for
   each Actor in its company for each and every week of employment during the term
   of this Agreement. [See Rule 27(B) INJURY AND SUPPLEMENTAL WORKERS’
   COMPENSATION.]
                      9/4/06 – 5/27/07                  5/28/07 – 5/25/08
                Health     SWC        Total         Health    SWC      Total
               $163.00     $2.00    $165.00        $179.00   $2.00   $181.00

                     5/26/08 – 5/31/09                  6/1/09 – 5/30/10
                Health     SWC        Total         Health    SWC      Total
               $188.00     $2.00    $190.00        $197.00   $2.00   $199.00
   PLEASE NOTE: The above health rates do not include the current Supplemental
   Workers’ Compensation payment. The Producer agrees to provide Supplemental
   Workers’ Compensation Benefits as administered by the Equity-League Health
   Benefits Trust Fund at a cost not to exceed $2.50 per Actor per week. [See Rule
   27(B) SUPPLEMENTAL WORKERS’ COMPENSATION.]
   (B) These monies shall be used to provide medical benefits.
   (C) The Producer further agrees to be bound by the Agreement and Declaration of
   Trust establishing the aforesaid Health Benefits Trust Fund, including all its rules
   and regulations and any and all amendments and modifications thereto, which may
   be adopted by its Trustees during the term of this Agreement.

26. HOUSING.
   (A) It shall be the Producer’s obligation to provide suitable rooms for out-of-town
   Actors at no cost to Actors. The Producer must supply Actor with:
       (1) Suitable housing shall be defined as a single occupancy room in a facility
       receiving at least a Two-diamond rating by the Automobile Club of America and
       having kitchen facilities. If this room is in a hotel and kitchen facilities are not
       available, the Producer will provide or will cause to have provided a microwave
       and small refrigerator in the Actor’s room. A microwave and small refrigerator
       will not be required whenever per diem is paid.
       (2) Out-of-town Actor shall be defined as an Actor whose primary residence as
       listed with Equity is more than 60 miles from the theatre.
       (3) Should Actors with disabilities be employed, the Producer will provide
       suitable and accessible accommodations.




                                              22
(B) For those Actors who reside more than 60 miles driving distance from the
Theatre and/or rehearsal space, and in the event the Actor chooses not to exercise
the said room option but chooses to drive, the Producer shall provide travel
expenses in an amount no less than the current Federal reimbursement rate from
the first mile driven.
(C) When working the allowed “10-out-of-12” rehearsal hour days prior to the first
paid public performance, any Stage Manager or Assistant Stage Manager living 35
miles or more from the theatre will be provided with housing. [See Rule 55, STAGE
MANAGERS AND ASSISTANT STAGE MANAGERS.]
(D) Local Transportation.
    (1) In all cases where there is no available public transportation and no
    available suitable public dining and/or suitable living accommodations within
    one-half mile by normal transportation route to the theatre and or rehearsal hall,
    the Producer shall, at its own expense, furnish round-trip transportation to the
    Actor for all performances, rehearsals, and/or meals as the case may require.
    Said transportation shall be in a fully insured vehicle, operated by a fully
    licensed driver, and each Actor shall be provided with a seat in said vehicle.
    This transportation shall be furnished in such manner that the Actor will arrive at
    the theatre one-half hour prior to the beginning of each performance, and
    promptly for each rehearsal, and shall be available to return the Actor to his
    living quarters no later than one-half hour after each performance and promptly
    after each rehearsal.
    (2) It is agreed that where public transportation is available, the Actor should be
    able to return to his lodgings no later than one hour after he leaves the theatre.
    (3) Taxis may be used as viable transportation under this Agreement. If a taxi is
    used for transportation, Producer will pay the cost of the taxi fare.
    (4) In all cases where no suitable shopping facilities are available within one-
    half mile of housing or normal transportation routes, the Producer shall provide
    round-trip transportation to such shopping facilities once a week at posted
    times. This trip shall be to an area of diversified shopping, including a bona fide
    supermarket, laundry facilities, hair care facilities, and a licensed pharmacy.
    (5) It shall be the Producer's obligation and responsibility to locate and reserve
    suitable living accommodations at reasonable cost for all Actors employed; and
    either to have the Actor met on his arrival in the town, or to instruct him in
    advance where to go on arrival.
    (6) If housing provided is found to be in an unsafe area and public
    transportation is not available, Producer will arrange transportation as provided
    in (D)(1) above.
(E) The securing of housing and transportation shall not be the responsibility of the
Stage Managers and/or Assistant Stage Managers. [See Rule 55, STAGE
MANAGERS AND ASSISTANT STAGE MANAGERS.]




                                        23
   (F) The Producer shall not be responsible for the room and board of relatives or
   pets.
   (G) Per Diem.
       (1) Each member in a production performing away from the theatre shall receive
       no less than $90.00 dollars per day for expenses of room and board.
       (2) When the room cost (including applicable taxes but excluding all other hotel
       charges) for an Actor exceeds 50% of the required per diem then the Producer
       shall reimburse that Actor for the excess over said 50% except where the Actor
       elects to arrange for his own accommodations.

27. INJURY AND SUPPLEMENTAL WORKERS’ COMPENSATION.
   (A) The Producer agrees to obtain and maintain Workers' Compensation Insurance
   Coverage for all Actors in its employ. Failure to obtain Workers’ Compensation
   Insurance shall make the Producer individually liable to the Actor for payments
   equivalent to any Workers’ Compensation lost. This obligation shall survive the
   termination of the Actor’s contract of employment. The Producer will furnish
   Workers’ Compensation Claim Forms to the Stage Manager on the first day of
   employment. The Actor must report all accidents to the Stage Manager, Deputy and
   Producer or designated representative.
   (B) Supplemental Workers’ Compensation. The Producer agrees to provide
   Supplemental Workers’ Compensation Benefits as administered by the Equity-
   League Health Benefits Trust Fund at a cost not to exceed $2.50 per Actor per
   week. Supplemental Workers’ Compensation is payable in addition to Workers'
   Compensation for an injury received in the course of employment. A schedule of
   benefits can be obtained at the Equity office.
   (C) Reports and Accidents. Within 24 hours of each occurrence, the Actor shall
   report all accidents and injuries to the Stage Manager (who shall inform Equity) and
   the Producer or the Producer’s representative.

28. JUVENILE ACTORS.
   (A) Separate dressing rooms for male and female juvenile performers (whether
   working under an Equity Agreement or not) will be provided and shall be separate
   from the adult performer’s (whether working under an Equity Contract or not)
   dressing rooms.
   (B) When performers under the age of 16 (“Juvenile Actors”) are employed on an
   Equity contract by a Producer, the Producer agrees to establish a program in
   consultation with the Juvenile Actor's parents or guardian and school which will
   provide (1) the security and proper supervision of the Juvenile Actor to the
   satisfaction of the Juvenile Actor's parents or guardian and Producer, and (2) the
   proper education of the Juvenile Actor to the satisfaction of the Juvenile Actor's
   parents or guardian, school and Producer. A rider shall be attached to the contract
   outlining the program.



                                         24
29. LAWS GOVERNING.
   (A) All contracts of employment shall be subject to, be construed by, and all the
   rights of the parties thereto shall be determined by the laws of the State of
   California, except as otherwise may be provided.
   (B) If there are any valid provisions of law applicable to a contract of employment
   which are in conflict herewith, the provisions of the contract which conflict therewith
   shall be deemed modified in conformity with the provisions of such applicable laws.
   (C) If any provision of this Agreement shall be held invalid or unlawful by any
   tribunal of competent jurisdiction, the remaining provisions shall not be affected
   thereby, but shall remain severally valid, binding and in full force and effect.

30. NON-DISCRIMINATION.
   (A) There shall be no discrimination against any Actor or applicant for a part in a
   cast by reason of race, color, creed, sex, national origin, sexual orientation, age,
   disability, political persuasion, or belief. A claimed violation of the section, unless
   satisfactory resolved between Equity and the Producer, shall be submitted to
   arbitration. In the event the arbitrator determines that discrimination has been
   practiced, he shall have the authority to direct reinstatement or employment as the
   case may be, and/or assess such monetary damages, not to exceed contractual
   salary lost, as in his opinion will make the Actor or applicant whole for such financial
   loss as he may have suffered by reason of said discrimination.
   (B) The Actor shall not perform, other than in connection with hiring practices as
   cover by (A) above, in any theatre or other place of performance where
   discrimination is practiced because of race, color or creed against any Actor or
   against any patron as to admission to or seating in such theatre of other place of
   performance.

31. NON-PROFESSIONALS.
   (A) The Producer may employ non-professionals (Equity Membership Candidates,
   students and local jobbers) who are not members of any branch of the 4-A's and/or
   who have not been members of a performers' union outside the United States.
   (B) Affidavits. On a form supplied by Equity the Producer shall register with Equity
   each Non-Professional associated with his company within one week of
   engagement by filing the name, address, Social Security number and a statement,
   signed by the Non-Professional, that said Non-Professional is not a member of any
   branch of the 4-A's.
   (C) Equity Membership Candidate. An Equity Membership Candidate (EMC) is a
   non-professional who is interested in obtaining training for the theatre and who
   intends to make a career in the professional theatre and is properly registered with
   Equity. No non-professional may be a Stage Manager or an Assistant Stage
   Manager.




                                           25
    (1) A bona fide workweek for the Equity Membership Candidate shall be defined
    as any week in which the EMC actually attends rehearsals, rehearses,
    understudies or performs with the Equity Company and shall be so reported on
    the weekly report. [See Rule 45(C), REPORTS.]
    (2) An Equity Membership Candidate who completes 50 workweeks will be
    eligible to join Equity. Such eligibility will remain open for a period of five years
    following the fiftieth week. However, after accruing 50 workweeks (or as
    provided in paragraph (3) below), and during this five-year period of eligibility,
    no Membership Candidate may be engaged by a Producer unless signed to an
    Equity contract.
    (3) An Equity Membership Candidate who is a member of any other 4-A’s union
    who completes 25 weeks will be eligible to join Equity.
    (4) An Equity Membership Candidate who completes the required number of
    workweeks as specified in paragraphs (2) and (3) above during the period of a
    production will be allowed to complete the production as a non-professional
    provided that the work assignment in that production remains the same.
    (5) When there is a separate Stage Manager and Assistant Stage Manager for
    the production, one production assistant may earn EMC credit assisting the
    Stage Manager and one production assistant may earn EMC credit assisting
    the Assistant Stage Manager. Credit shall be earned only in those weeks in
    which the production assistant is at all times either directly assisting or assigned
    by the Stage Manager or Assistant Stage Manager in the performance of his
    stage managerial functions.
(D) Local Jobber. A local jobber is a non-professional who is a bona fide resident of
the community in which the theatre is located (within a 50-mile radius) and who
does not intend to make a career in the professional theatre.
(E) Failure by Producer to File Equity Non-Professional Registration Forms shall
constitute a breach of this agreement entitling Equity among other things and
without limitation to refuse to release the balance of the security deposited with
Equity until the above requirement is met.
(F) No Actor may be replaced by a non-professional.
(G) Use of Non-Professionals.
    (1) Non-Professionals may be used only if the required number of Equity
    contracts are utilized as follows: Effective for the term of this Agreement, each
    production of the Producer will have no fewer than 20 Equity contracts, of which
    one will be for the Stage Manager, one will be for the Assistant Stage Manager,
    and no fewer than eight will be for Chorus.
    (2) If a production is also scheduled to tour to other venues all performers must
    be under Equity contract from the time of first rehearsal. [See Rule 59, TOURS.]
    (3) Partnering. An Actor shall be permitted to partner or be partnered by a non-
    professional. Should a dispute arise as to the safety of this partnering, such



                                        26
       partnering may only continue with the unanimous approval of an on-site
       committee consisting of the Deputies, Dance Captain and Stage Manager.

32. NON-TRADITIONAL CASTING.
   (A) It is the desire of the parties that employment for Actors shall continue to reflect
   a multi-racial society that also includes persons with disabilities. Toward that end,
   the Producer will continue to encourage to the best of its ability a flexible and
   imaginative casting policy which is called “non-traditional casting.” Non-traditional
   casting is for the purpose of increasing employment for ethnic minority Actors
   (African-American, Hispanic-American, Asian-American and Native American),
   female Actors, senior Actors and Actors with disabilities and is for the casting of
   ethnic minority Actors, female Actors, senior Actors and Actors with disabilities in
   roles where race, age, ethnicity, gender or the presence or absence of a disability is
   not absolutely essential to the play or the character’s development.
   (B) In furtherance of this policy, the Producer will actively solicit the participation of
   ethnic minorities and persons with disabilities in all ads, casting notices and cast
   breakdowns to agents and casting directors.
   (C) In furtherance of the foregoing policy, the Producer recognizes that all roles
   where race, ethnicity, gender or disability is not germane shall be open to non-
   traditional casting. Each Producer shall include its non-traditional casting policy in
   casting notices and cast breakdowns to agents and casting directors.

33. NO STRIKE OR LOCK-OUT.
   (A) There shall be no strike, boycott, interruption of work, stoppage, temporary walk-
   out or lock-out for any reason during the term of this Agreement except that if either
   party shall fail to abide by the decision of the Arbitrator under Rule 4,
   ARBITRATION, of this Agreement, after receipt of such decision, then the other
   party shall not be bound by this provision.
   (B) The parties agree as part of the consideration of this Agreement that neither
   Equity, nor any of its officers, agents or members, shall be liable for damages for
   unauthorized stoppages, strikes, slowdowns or suspensions of work if:
       (1) Equity gives written notice to the Producer and the company Deputy within
       24 hours of notice from the Producer of such action, that it has not authorized
       the stoppage, strikes, slowdown or suspension of work; and
       (2) Equity further cooperates with the Producer in getting the employees to
       return and remain at work.
   (C) It is recognized that the Producer has the right to take disciplinary action,
   including discharge, against any Actor who engaged in any unauthorized strike or
   work stoppage, subject to Equity's right to submit to arbitration in accordance with
   the Agreement, the question of whether or not the Actor did engage in any
   unauthorized strike or work stoppage.




                                            27
   (D) Nothing in this rule, or otherwise, shall be deemed to prohibit or inhibit Equity
   and/or its members from taking any action it deems necessary, including, but not
   limited to, striking, picketing or other concerted activity, to enforce the payment of
   agreed minimum and/or contractual salaries and/or the payment of agreed Pension
   and Health contributions by the Producer.
   (E) It is agreed that Equity cannot guarantee that its members will pass through a
   picket line if any union or unions or organized groups of employees are on strike or
   are locked out. This Agreement shall not be considered breached by Equity
   because of the failure or refusal of members of Equity to pass through a picket line
   under the circumstances described above. Equity and its members shall only be
   considered responsible for performance of work if the employees can perform their
   work without molestation or interference.

34. NUDITY.
   Any production with nudity shall be subject to prevailing rulings by Equity with
   regard to auditions, rehearsals, performance and photographs.

35. PENSION AND 401(k) PLAN.
   (A) Pension Plan. The Producer agrees to participate in the Equity-League Pension
   Trust Fund and to abide by all its rules and regulations. Producer agrees to make
   weekly contributions thereto in an amount equal to 8% of all gross payments made
   to the Actor up to a maximum of $5,500.00 for each Actor in each and every
   workweek of employment for the term of this Agreement. This shall not include the
   minimum required per diems or the minimum required costume rentals. With
   Equity's consent, uniformly higher per diems given to the entire company may be
   excluded.
   (B) 401(k) Plan. Each Actor shall have the option to contribute to the Equity-League
   Trust Fund 401(k) Plan. The Producer agrees to deduct and remit said contributions
   to the plan. Amount of the contribution shall be determined by the Actor in writing at
   time of contract signing, and no change may be made during term of contract. No
   contributions shall be required of the Producer.

36. PERFORMANCE LOST.
   If the company cannot perform because of fire, accident, strike, riot, Act of God, or
   the public enemy, which could not be reasonably anticipated or prevented, then the
   Actor shall not be entitled to any salary for the time during which Actor’s services
   shall not for such reason or reasons be rendered and either party may terminate
   this contract.
   In the event the Producer believes that rehearsals or performances can be resumed
   in a period of 10 days or less and requires Actor to remain under employment, the
   Actor shall receive the following:
       (1) 1/6th of minimum salary for each rehearsal day lost or 1/8th of minimum
       salary for each performance lost. Actor shall receive 1/8th of contractual salary


                                          28
      for each added performance not to exceed nine performances in a workweek or
      six performances in three days. If Actor is paid a per diem, he will be paid one-
      half his per diem payment for each day lost.
      (2) Should any of the foregoing conditions continue for a period of ten days or
      more, either party may terminate the contract, and the Producer shall pay for all
      services to date and return transportation for Actors.

37. “PRE-BROADWAY”/PRODUCTION TRYOUTS.
  Should the Producer produce a production in which it accepts financial
  compensation, gifts, or investment from the entity or individual who holds the first
  class rights to that production and uses the facilities of the WCLO Producer, the
  Producer agrees to the following conditions:
  (A) The Producer will have the first class rights holder sign and submit to Equity, on
  a form provided by Equity, an agreement to offer all Equity contract employees
  engaged in the WCLO production a right of first refusal in the subsequent
  production for the individual’s role or function. Failure to offer any such Actor the
  subsequent contract will require payment by the first class rights holder of no less
  than four weeks minimum salary under the Production Contract or four weeks
  contractual salary under the WCLO Contract, whichever is greater.
  (B) After official opening, all rehearsal of material not performed at the first paid
  public performance will be paid at the overtime rate. After opening, the Understudy
  will be paid overtime to learn new material, whether at the same time as the Actor
  he understudies or at a separate rehearsal. However, once the Actor has learned
  this new material, he will not receive additional overtime for continued understudy
  rehearsals or for put-in rehearsal.
  (C) No group sales presentations, except those for the WCLO production, may be
  made without the prior consent of Equity, under terms established by Equity, and
  with no less than 48 hours written notice to Equity
  (D) The production will be cast 100% under Equity contract from the time of first
  rehearsal.
  (E) Three days of Equity Auditions will be held. [See Rule 5, AUDITIONS AND
  INTERVIEWS.]
  (F) An Assistant Dance Captain must be employed in productions that employ 30 or
  more performing actors. The Assistant Dance Captain shall be paid not less than
  12% of the prevailing WLCO minimum salary in addition to the weekly contractual
  salary.
  (G) A play, once closed, may reopen for rehearsal or performance within eight
  weeks of the date of its closing only under the Production Agreement upon the
  following terms and conditions:
      (1) The Producer agrees to abide by Rule 37                 “PRE-BROADWAY”/
      PRODUCTION TRYOUTS of this WCLO Agreement.



                                         29
      (2) The Producer agrees to pay vacation pay at the rate of 4% of weekly salary,
      from first day of rehearsal on the WCLO Agreement.
      (3) The Producer agrees to pay sick leave accrual per the Production Contract
      Rulebook from first day of rehearsal on the WCLO Agreement.
      (4) The Producer agrees that when the production being produced by the
      Signatory Theatre goes from the WCLO Agreement to the Production
      Agreement, starting with the first Production Agreement rehearsal, Actors must
      be paid not less than Production contract minimum or the WCLO contractual
      salary, whichever is greater.
      (5) The Dance Captain shall receive not less than the prevailing Production
      Contract increment in addition to weekly contractual salary, from first day of
      rehearsal on the WCLO Agreement.
      (6) Full Swings shall be required and paid not less than the prevailing
      Production Contract increment in addition to weekly contractual salary, from first
      day of rehearsal on the WCLO Agreement.
      (7) The Stage Manager and Assistant Stage Managers shall receive not less
      than 1/6th of the prevailing WCLO Contract minimum in addition to weekly
      contractual salary, from first day of work.
      (8) All terms from Rule 72 TRANSFER TO PRODUCTION CONTRACT in the
      Production Rulebook shall also apply.

38. PRODUCTION PROSECUTED.
  (A) Should the production or performances in a production in which the Actor is
  engaged be complained of as being in violation of any statute, ordinance or law of
  the United States, or any state or any municipality in any state, and should a claim
  or charge, either civil or criminal, be made against the Actor arising out of his
  employment in such production, the Producer shall defend the Actor at the
  Producer's own expense, or shall pay any and all reasonable charges made or
  incurred by the Actor in his defense, and indemnify the Actor against any loss or
  damage which he may suffer, arising out of his employment in any such production.
  This rule does not apply to acts other than in the course of employment unless
  directed by the Producer or its representative.
  (B) It is specifically agreed and understood between the Actor and the Producer that
  the language, business and costuming of the play are under the control and
  direction of the Producer and author, who according to custom, can at any time
  erase or amend the scenes and lines, and that consequently the Actor has no
  certain method of knowing during rehearsals, whether in its final presentation the
  play is susceptible of being considered immoral or indecent. Therefore the Producer
  represents to the Actor that the play as produced shall not violate any law or give
  offense which is punishable by any law, and expressly agrees that should it or the
  author be arrested or summoned on such charges, that (Equity consenting) the
  Actor may terminate the engagement forthwith. Upon such termination the Producer
  shall pay to the Actor forthwith, all sums due under this Agreement plus one week's


                                         30
  salary, as compensation for the termination of the engagement without notice, but in
  no event shall the Actor receive less than a total of two weeks’ salary.
  (C) This rule shall not apply to any case or any set of conditions where its
  enforcement would be illegal or against public policy. In the case of an arrest on
  account of the nature of the play or its production, the Producer shall forthwith
  furnish bail for the Actor; and, in the event of its failure to do so, or for any breach of
  this rule, the Producer shall pay to the Actor (Equity consenting) the sum of
  $1,000.00. After an arrest, the Actor may demand a suspension of performance
  pending a determination, and such suspension shall not terminate or otherwise
  affect the terms of the agreement, unless Equity shall otherwise order.

39. PROGRAM AND SOUVENIR PROGRAM.
  (A) A free program shall be given to all patrons at each performance. All Actors on
  Equity contract must have a picture and biography in the program together with their
  roles and/or functions.
  (B) All Actors on Equity contract in the production shall be listed either on the title
  page or on the first page on which there is a complete cast listing. On the page
  where the complete cast is listed all members of Actors' Equity will be asterisked (*)
  to a statement that they are “Members of Actors' Equity Association, the Union of
  Professional Actors and Stage Managers in the United States.”
  (C) The Dance Captain shall receive billing on the page where the complete cast is
  listed.
  (D) Actor’s Biography.
      (1) The Actor shall have the right of approval of biographical material for the
      program and souvenir program. Approval must be in writing, and shall not be
      unreasonably withheld. Biographical material not disapproved within 24 hours of
      its submission to the Actor shall be considered approved. Parties agree to use
      best efforts to limit biographies to biographical data and performance credits.
      (2) In the event that there are errors or omissions in the printed cast listing in
      the program and/or souvenir program, the Producer agrees, upon receipt of
      notice of an omission or error in such cast listing, it will, within 24 hours
      (including at least one business day), place in the program and/or souvenir
      program a photocopied or printed slip correcting the omission or error and will
      also correct the omission in the next printing of the program and/or souvenir
      program, provided such notice is given at least 24 hours prior to the press
      deadline.
      (3) For each failure either to place a correction slip in the program and/or
      souvenir program, as stipulated above, or to correct the program and/or
      souvenir program cast listing at the next printing, after proper notice, the
      Producer shall pay the Actor involved a sum equal to 1/8th of the Actor's
      contractual salary for each week or part thereof during which the omission or
      error continues.



                                            31
(E) Equity Bio. The Producer agrees to include biographical material about Actors’
Equity in said program or playbill, of no more than 50 words, as specified by the
union.
(F) The Producer agrees to include the following wording on the cast page in the
program: “This Theatre operates under an agreement with Actors' Equity
Association, the Union of Professional Actors and Stage Managers in the United
States.” The Producer has the option to include the Equity Logo, and will be
supplied with a “cut” by Equity, when requested.
(G) Changes in Cast.
   (1) The Producer shall use its best efforts to delete promptly the name of the
   Actor from advertising and publicity matter after the Actor leaves the company.
   (2) All understudies and their roles must be listed in the program unless
   requested by the understudy not to be listed.
   (3) When the Producer knows that an Understudy will take the place of a
   Principal Actor or Chorus playing a part before “half-hour,” in a production, an
   announcement to this effect shall be made in two out of the following three
   ways:
       (a) Through the insertion of a printed slip in all programs.
       (b) By means of an announcement from the stage.
       (c) By means of a sign conspicuously and prominently posted at the
       entrance to the theatre at the place where tickets of admission are
       collected. This sign shall be at least 8 X 10 inches in size, with letters at
       least one inch high.
   (4) When the Producer doesn’t know that an Understudy will take the place of a
   Principal Actor or Chorus playing a part, until after half-hour, in a production an
   announcement to this effect shall be made from the stage and Producer will
   make best efforts to post the announcement as covered in 39(E)(3)(c) above.
   (5) In all the above cases, such announcements shall include the role(s), the
   name of the Actor playing such role(s) and the name of the Actor replaced
   unless the Actor replaced requests, in writing, the omission of his name.
   (6) For each failure to give the required notice of substitution, the Producer
   agrees to pay the Actor, whose part is played by an Understudy or another
   Actor, and also the Understudy or other Actor, an additional sum equal to 1/8th
   of Actor’s own weekly salary.
   (7) Not Required to Alternate.
       (a) Unless Equity shall otherwise order, the Producer shall not require the
       Actor to alternate with an Understudy or a successor, and if replaced by
       either without the Actor's consent, the Actor may not be thereafter required
       (unless Equity otherwise orders) to act again in the part or to report to the
       theatre for that purpose. Payments, however, shall continue to be made to
       him according to the terms of his agreement.


                                       32
           (b) However, an Actor may agree in a rider to his contract to alternate
           performances with another Actor. Notice that a role is being performed by
           more than one Actor must be stated in the program and the Actor
           performing must be properly identified. If such notice is not included in the
           printed program, then any change of cast must be announced in
           accordance with (3) above.

40. PROPERTY.
   (A) The Producer shall reimburse the Actor for all loss and/or damage to:
       (1) Actor’s property used or to be used in connection with a production or
       productions covered by his employment contract.
       (2) The personal clothing worn by the Actor to the theatre.
       (3) The personal effects of the Actor, including his baggage and eyeglasses,
       while any such property is in the possession or control or under the supervision
       of the Producer, or any of its representatives, agents, or employees, or while
       said property is in any theatre, building, or other place in which the production
       (or productions) covered by the Actor's agreement has been, or is being given,
       or is to be given, or when any such property or personal effects have been in
       any way shipped, forwarded, or stored by the Producer or any of its
       representatives, agents, or employees, up to a limit of $10,000.00 for the
       Actor's personal effects and clothing and up to a limit of $1,500.00 for the
       Actor's jewelry; except that, if the Producer provides facilities for safekeeping
       the Actor's personal valuables, jewelry, and/or cash, not used in the production,
       while said articles are in any theatre, the Producer shall be liable for loss and/or
       damage only if said personal valuables, jewelry, and/or cash are given to the
       Producer or its agent for safe-keeping. In this regard, the Producer agrees to
       provide facilities for safekeeping of said articles, and to inform all Actors of
       same and of the necessity for using such facilities under the provisions of this
       rule by a written notice posted on the callboard.
   (B) The Producer shall be liable as hereinabove provided, whether or not the act,
   fault, or negligence of the Producer, its representatives, agents, or employees
   caused or contributed to such loss or damage. The Producer, however, shall not be
   liable for any loss or damage to the property of the Actor while said property is
   under the sole and exclusive control and supervision of the Actor.
   (C) Except as above provided, the Producer 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 he desires
   to protect himself against loss to insure the same. The Producer may meet the
   foregoing obligations by maintaining adequate and sufficient insurance coverage,
   which shall provide the same protection as the Producer hereby, assumes. Upon
   the direct payment of any damage or loss to the Actor by the Producer, the
   Producer or the Insurer shall be subrogated to all rights of the Actor to the extent of
   such payment.



                                           33
41. RECORDINGS. (Use in Production)
   (A) The Actor shall not be required to work in any production where recordings or
   mechanical or electronic reproductions of voice are used to supply dialogue, singing
   and chanting, or business where living actors might be employed, unless the
   Producer shall have first obtained the written consent and permission of Equity, and
   shall comply with all such terms and conditions as Equity may prescribe.
   (B) Provided he agrees in his contract, a Principal Actor may record, film or tape a
   portion of the role that he performs on stage for use in the production. The record,
   film or tape may be used only during the period in which the Actor is employed
   except where the Actor voluntarily terminates his employment and where said
   Actor's voice is not identifiable, and must be made during regular rehearsal hours.

42. REHEARSAL, PERFORMANCE, AND OTHER WORK RELATED RULES.
   (A) Workweek, Work Day and Rehearsal.
       (1) A workweek shall mean from and including Monday through Sunday.
       (2) The Producer shall conduct an on-stage, full-dress, full-tech, run-through of
       the entire play, including intermissions, prior to the first public performance. If,
       due to unforeseen circumstances, the tech/dress rehearsal cannot be achieved,
       the Producer shall ensure that all aspects of the production that might endanger
       the Actor are rehearsed. Also, the Producer shall make an announcement from
       the stage prior to the beginning of the performance that there may be a need to
       stop.
       (3) During rehearsal weeks the total workweek shall not exceed 45 hours of
       which no more than 42 hours may be for rehearsal.
       (4) The workday during the above is limited to seven-out-of-eight-and-one-half
       hours.
       (5) At the Producer’s option, a six-hour rehearsal block may be utilized for a
       maximum of three days in any workweek, provided the following conditions are
       met:
           (a) A ¾ majority cast vote, by secret ballot, at the first rehearsal shall be
           required for use of a six-hour rehearsal block in combination with the
           standard rehearsal schedule.
               (1) The six-hour rehearsal block shall constitute the entire work
               schedule for the day.
               (2) Each six-hour rehearsal block shall replace a typical seven-out-of-
               eight-and-one-half hour rehearsal schedule.
           (b) Within the six-hour rehearsal block, there shall be 40 minutes of break
           time to be distributed in accordance with section (D)(2) below, except that
           one break shall not be less than 20 minutes.
       (6) During the seven days prior to the first paid public performance,
       notwithstanding the above, rehearsal can consist of the following:


                                           34
       (a) Four days of “10-out-of-12” rehearsal hour days.
       (b) Three days of “7-out-of-10” rehearsal hour days.
   (7) Rehearsal period for each production shall be a minimum of two weeks in
   length.
   (8) The Stage Manager will receive overtime any week in which he exceeds the
   maximum hours allowed the Actors by more than 15 hours in rehearsal, non-
   rehearsal and/or performance duties. Nevertheless, any time an Actor receives
   overtime, the Stage Manager shall also receive overtime. [See Rule 55(E)(17)
   STAGE MANAGERS.]
   (9) Except for days of two performances when one is an early student
   performance, the span of the workday shall not exceed 12 consecutive hours.
   [See 42(B)(6) above.]
   (10) Between the first paid public performance and official opening:
       (a) Rehearsals may be five hours per day on a one-performance day.
       (b) No rehearsal may be held on a two-performance day.
       (c) The above rehearsals shall be limited to three days.
           (1) Not withstanding the above, rehearsal days may be increased to no
           more than seven days provided that one full day off is given in each
           workweek.
   (11) After official opening, rehearsals may not exceed eight hours per week for
   brush-up or replacements. Up to four hours of the eight allotted above may be
   used for rehearsing new material during the first two full workweeks after
   opening. [See Rule 37(B), “PRE-BROADWAY”/ PRODUCTION TRYOUTS.] For
   understudies and Dance Captains, after official opening, a total of ten hours of
   rehearsal is allowed.
   (12) Absent special circumstances, changes in the rehearsal call may be made
   only upon 24-hours written notice.
   (13) Time shall be set aside for the cast to conduct Equity business during the
   first three days of rehearsal, not to exceed a total of one hour. Such time shall
   not be considered part of the official rehearsal hours.
(B) Performances.
   (1) There shall be no more than eight performances in any week without
   additional compensation. Notice of the regular performance schedule and any
   additional performances known by the Producer shall be posted at the
   Producer's announced auditions. A rider describing the regular performance
   schedule and known additional performances shall be attached to the Actor's
   contract at the time of contract signing.
   (2) Notification of Performance Schedule Change.




                                      35
       (a) The Actor shall be notified of any change of the performance schedule
       at least two weeks in advance, except in an emergency when a shorter
       notice period agreed to by a majority of the cast shall be permitted.
       (b) When a Theatre's performance schedule is less than eight
       performances per week, the Actor must receive no less than one week's
       notice of the addition of performances up to the permitted eight. The
       Producer shall give notice at the time of scheduling such additional
       performance(s) but in no event less than one-week's notice.
   (3) There shall be no more than two performances in any day nor more than
   five performances in any three-day period. The total number of hours worked on
   a two-performance day, including “half-hour,” shall not exceed nine hours.
   (4) A ninth performance shall be paid for at the rate of 2/8ths of weekly
   contractual salary except when said performance is a school matinee,
   community/charity benefit, in which the payment will be 3/16ths of weekly
   contractual salary.
   (5) A canceled regularly scheduled performance may be exchanged for three-
   and-one-half hours of rehearsal.
   (6) Any performance which begins prior to 12:00 noon (except to pre-school or
   student audiences) or which continues beyond 1:00 A.M. shall be paid for at the
   rate of an additional 2/8ths of weekly contractual salary. If there are to be any
   performances prior to 12:00 noon, the Actor shall be so advised at the time of
   audition or interview. In the event the Actor is engaged without audition or
   interview, the Actor shall be so advised at the time of contract signing. In either
   event, a rider must be attached to the contract. Should there be no rider, the
   Actor shall not be required to perform without the express consent of Equity.
(C) Costume Calls, Photographs and Publicity.
   (1) In addition to rehearsal time, but within the maximum hours of the workweek
   as outlined in paragraph (A)(3) above, the Producer may schedule a combined
   total of no more than six hours for costume and/or photo calls per production.
   (2) Costume calls must be consecutive with rehearsal hours and must be
   calculated in segments of no less than one-half hour. Combined costume calls
   and rehearsal hours may reach a maximum of six consecutive hours without a
   break.
   (3) The Producer may require the Actor to pose not only for customary and
   usual photographs, but also for photographs to appear in magazines or
   newspapers for the sole purpose of publicizing and advertising the play. Said
   photo session may take place on a one-performance day, or before or after
   rehearsal, subject to the limitations as set forth herein, or during the authorized
   rehearsal hours, but in no event during auditions, or on a two-performance day,
   or after the evening performance on a day immediately preceding the day off.
   (4) There shall be no more than one picture call in any week and of no less than
   one-half hour duration. The Actor shall receive no less than 24-hours notice of a


                                       36
   picture call. However, combined photo and rehearsal hours may reach a
   maximum of six consecutive hours without a break.
   (5) If the picture call takes place after a performance, refreshments shall be
   made available to the Actor at the Producer's expense. No photo call may
   extend beyond 1:00 A.M.
   (6) If the photographs are taken at a time other than hereinabove specified, or if
   the limitation in the number of calls in section 4 above is exceeded, the Actor
   shall be paid not less than an additional 1/8th of his weekly contractual salary for
   each day or part thereof in which the photo session takes place.
   (7) The Actor's name shall be properly credited whenever and wherever the
   photographs are used and/or distributed by the Producer, except in a group
   photograph of more than five the Producer shall use its best efforts to insure the
   crediting of photographs not under the Producer’s control.
   (8) The Actor shall have the right of approval of all individual non-production
   photographs of Actor used or distributed by the Producer and under its control.
   If the Actor withholds his permission, he may be required to supply his own
   photographs.
   (9) The Producer shall reimburse the Actor for all reasonable personal
   expenses incurred in connection with personal and publicity appearances
   initiated or required by the Producer. Such appearances shall be arranged at a
   mutually convenient time.
   (10) Actor’s Picture Used in Conjunction With Commercial Product.
       (a) The Actor's picture may not be used in conjunction with a commercial
       product unless the Producer has obtained the Actor's prior written
       authorization identifying the product involved.
       (b) Actor shall be paid no less than $100.00 for said use.
       (c) Actors called to a picture call, for the purpose described above, whether
       at the theatre or elsewhere, shall be paid no less than $100.00 per hour,
       and Actor shall receive 24-hours notice for the picture call.
   (11) Equity Logo. The Producer agrees to use best efforts to place the Equity
   Logo or name on all Producer-generated marketing and promotions in all
   productions that are either produced or presented by the Producer where Equity
   Actors are employed.
(D) Breaks, Rest Periods, Days Off.
   (1) There shall be a break of no less than one-and-one-half hours after five
   consecutive hours of work except as provided in paragraph (C)(2) and (C)(4)
   above. If the Producer has no objection, the Stage Manager may conduct a cast
   vote to reduce this break to one hour. This Stage Manager prerogative shall be
   exercised solely for the convenience and at the request of the company by a
   2/3rds majority secret ballot vote of the Actors on Equity contracts in the
   company.


                                       37
(2) Except during run-throughs and dress rehearsals, there shall be a break of
five minutes after no more than 55 minutes of rehearsal or ten minutes after no
more than 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 minutes at the
intermission point(s).
(3) There shall be a break between the rehearsal, photo/costume, and “half-
hour” call of at least one-and-one-half hours. In the event that such break is
only one-and-one-half hours, Actors must have access to a food menu to make
food available and delivered at Actor’s expense at break time. No break shall be
required should the only rehearsal call for the day be for one hour or less
provided the Producer schedules it just prior to half-hour and provided that in
each instance there is a unanimous, secret-ballot cast vote from each Actor
involved in the rehearsal.
(4) There shall be no less than one-and-one-half hours and no more than three
hours between curtain down and a rehearsal call. The rest period may be
reduced or extended by a cast majority, secret ballot vote.
(5) There shall be no less than a 12-hour rest period between the end of
employment on one day and the beginning of employment on the next day. [For
Stage Manager's Breaks see Rule 55 (E), STAGE MANAGERS AND
ASSISTANT STAGE MANAGERS.]
(6) There shall be a one-and-one-half hour rest period exclusive of half-hour,
between performances.
(7) There shall be one full day off each workweek except for the workweek
containing the first paid public performance when there shall be a daylight day
of rest.
    (a) A full day off shall be 24 hours in addition to the regular rest period
    required at the end of each workday. In the event that Producer requires
    Actor to rehearse on his day off, Actor will be paid 2/6ths of his rehearsal
    salary for such work prior to first paid public performance and 2/6ths of his
    contractual salary thereafter. In the event that Producer requires Actor to
    perform on his day off, the Actor shall receive 2/8ths of his performance
    salary unless it is the ninth performance of Actor’s workweek, in which case
    he will receive 3/8ths of his performance salary.
    (b) A daylight day of rest means from the end of work on one day until 7:00
    P.M. of the following day. In the event that Producer calls Actor on a
    daylight day of rest prior to 7:00 PM, Actor will receive double overtime
    payment with a four-hour minimum payment.
    (c) There shall be no call of any kind after the evening performance on a
    day immediately preceding the day off.
(8) Notification. As soon as the Producer is aware of a possible change, but in
no event less than 72 hours, written notice must be given to change the day off.




                                   38
       (9) On Thanksgiving and Christmas, an Actor whose contractual salary is less
       than $5,000.00 per week shall receive holiday pay in addition to Actor's weekly
       contractual salary as follows:
           (a) If one performance is scheduled on that holiday, 1/16th minimum salary
           for Actor's own category;
           (b) If two performances are scheduled on that holiday and Actor performs
           both, 3/32nds of said minimum salary; and
           (c) If two performances are scheduled on that holiday and Actor performs
           only one, 1/32nd of said minimum salary.
       (10) When on tour, the company shall not be required to rehearse until three
       hours after arrival at hotel, except in the case of replacements. When
       transportation is directly to the Actor’s hotel and travel time does not exceed
       three hours from point of departure, two hours shall comprise the aforesaid rest
       period. [See Rule 59(C)(3)(n) TOURS.]
   (E) Notes.
       (1) Note sessions may be held after no more than four preview performances.
       Two of these note sessions may be called at the sole discretion of the director
       and two shall require the Actor's approval.
       (2) Note sessions shall be limited to one hour from curtain down and that hour
       shall be deducted from the next rehearsal day. The first 15 minutes only of
       these note sessions may be used for rehearsal with the orchestra.
       (3) Note sessions may not be held between “half-hour” and end of show, except
       in cases of replacement, safety or emergency.
       (4) Note sessions may be held only on a one-performance day.
       (5) Individual Actor notes may not be posted on the Callboard, except in a
       sealed envelope.

43. REOPENING OF A PLAY.
   A play, once closed, shall not be reopened for rehearsal or performance within eight
   weeks of the date of its closing under any Equity contract other than the WCLO
   without the written consent of Equity and under such terms as stipulated by Equity.
   Such consent, upon equitable terms and conditions, shall not be unreasonably
   withheld. [For “Pre-Broadway”/Production Try-outs, see Rule 37.]

44. REPLACEMENT OF THE ACTOR.
   (A) Not Required to Alternate. Unless Equity shall otherwise order, the Producer
   shall not require the Actor to alternate with an Understudy or a successor, and if
   replaced by either without the Actor's consent, he may not be thereafter required
   (unless Equity otherwise orders) to act again in the part or to report to the theatre
   for that purpose. Payments, however, shall continue to be made to him according to
   the terms of his agreement.


                                          39
   (B) However, an Actor may agree in a rider to his contract to alternate performances
   with another Actor. Notice that a role is being performed by more than one Actor
   must be stated in the program and the Actor performing must be properly identified.
   If such notice is not included in the printed program, then any change of cast must
   be announced in accordance with Rule 39 (G) PROGRAM AND SOUVENIR
   PROGRAM.
   (C) Permanent Replacement. If a Principal Actor's employment is terminated, a
   contract for the replacement must be negotiated and signed between the Producer
   and the understudy or other replacement no later than two weeks after the
   Principal's last performance in the production. [See Rule 31 (F), NON-
   PROFESSIONALS.]

45. REPORTS.
   (A) W-2 Forms. W-2 Forms must be furnished to the Actor. Equity may in its
   discretion, at any time, require the Producer to submit proof satisfactory to it that all
   Actors employed are given a withholding tax receipt (W-2 Form) and statement of
   Social Security deductions for the entire season.
   (B) On the first day of rehearsal, each Actor shall receive a kit containing all
   information regarding state and local taxes and all forms applicable to same or, if
   not immediately available, information as to where such forms may be obtained.
   (C) Weekly Reports and Payments to Equity.
       (1) By the Friday following the first week of employment and by each Friday
       thereafter, the Producer shall and must furnish Equity, on forms supplied by
       Equity for that purpose, the following:
           (a) Pension and Health Reports listing all Actors and all non-professional
           cast members employed in the production with the appropriate Pension and
           Health payment included.
           (b) Working Dues Reports listing all Actors working under an Equity
           contract with the appropriate Working Dues payment.
           (c) A Show Program. (When available)
           (d) Cast changes (program insert, when applicable).
       (2) The Producer, for each week of failure to file the reports, shall pay to the
       Actors' Equity Foundation, the sum of $25.00. Failure to file the above reports,
       moreover, shall constitute a breach of this Agreement entitling Equity, among
       other things and without any limitation, to refuse to release the balance of the
       security deposited with Equity until the above requirements are met.
       (3) If within four weeks of receipt of such reports, Equity fails to notify the
       Producer of a possible violation based upon that report, or fails to request
       further information, Equity shall not thereafter take any action or make any
       claim based upon it.




                                            40
46. RISK.
   An Actor called upon to perform “risk” shall receive no less than $15.00 per week
   above contractual salary, such payments to start at the time that such risk activity
   begins.
   (A) “Risks” are defined as, but not limited to: performing acrobatic feats; suspension
   from trapezes, wires, or like contrivances; the use of or exposure to weapons, fire,
   pyrotechnic devices; excessive amounts of smoke and fog, and the taking of
   dangerous leaps, falls, throws, catches, knee drops, or slides; and performing on
   moving set pieces or on elevated platforms.
   (B) An Actor shall also be deemed to be eligible for “risk” payment when the staging
   or choreography requires the Actor to execute dance movements which depart from
   the accepted techniques of movement and support as used in contemporary theatre
   dance, i.e., classical ballet, modern jazz or ethnic.
   (C) The initial determination as to the eligibility for the said additional compensation
   shall be made by Equity in each particular case.

47. SAFE AND SANITARY PLACES OF EMPLOYMENT.
   The Producer agrees to provide the Actor with safe and sanitary places of
   employment.
   (A) Dressing Rooms. Separate dressing rooms for male and female Actors will be
   provided.
       (1) Dressing rooms (except quick-change booths) shall be of a permanent type,
       and shall not be only under canvas.
       (2) Each Actor shall be provided sufficient and suitable dressing table space no
       less than 30 inches. All dressing rooms shall be properly heated and shall have
       adequate lights, mirrors, shelves and wardrobe hooks for Actor’s make-up and
       dressing equipment. All dressing rooms shall be swept daily, and all mirrors,
       dressing tables, and dressing rooms shall be thoroughly cleaned daily, prior to
       the Actor’s occupancy of the dressing room.
       (3) Use of fluorescent lighting for make-up purposes is prohibited unless the
       fluorescent lighting is specifically warranted by the manufacturer to be for make-
       up purposes.
       (4) All dressing rooms shall be equipped with air-conditioning systems, air-
       cooling systems or some similar type of mechanical device to insure proper
       ventilation and the circulation of fresh, cool air.
       (5) The Producer agrees to provide heat in the dressing rooms if the outside
       temperature falls below 60 degrees Fahrenheit.
       (6) A telephone for the Actors shall be accessible to the dressing room areas.
       (7) Alleys and roads leading to stage doors of theatres shall be accessible and
       properly lighted. Runways between dressing rooms and the theatre shall be
       covered and paved or boarded.


                                           41
    (8) Dressing room entrances and windows shall be properly masked from the
    view of the audience to insure the Actor's privacy
    (9) There shall be a fire extinguisher accessible to each dressing room.
    (10) Should Actors with disabilities be engaged, the Producer will provide
    accessible dressing room(s).
(B) Lavatory and Toilet Facilities.
    (1) Separate sanitary facilities will be provided for male and female Actors.
    Toilets and lavatories will be clean and sanitary, and will be separate facilities
    from those provided for the audience.
    (2) The Producer will provide soap, toilet tissue and paper towels.
    (3) Sinks with hot and cold running water shall be available in or reasonably
    convenient to the dressing rooms. “Reasonably convenient to” shall mean within
    the same building and in the dressing room area.
    (4) In all theatres where the Actor is required to use body make-up, there shall
    be showers with hot and cold running water. Producer shall furnish clean cloth
    towels for the removal of body make-up. [See Rule 12(D), CLOTHING AND
    COSTUMES.]
    (5) Any walkway between the dressing rooms and toilet facilities shall be
    masked from the view of the audience.
(C) Rehearsal Space. In all open-air and tent theatres, the Producer shall make
available adequate covered rehearsal space, which shall be safe, comfortable and
healthful at all times. When the temperature in the rehearsal space exceeds 90
degrees Fahrenheit during a rehearsal period (excluding dress, tech and/or
orchestra rehearsal), Actors cannot be engaged in continuous dance sequences or
other scenes requiring strenuous physical activity for any period exceeding 30
consecutive minutes. In addition, fans, oxygen tanks and water must be available at
all times. All other rehearsal areas shall provide heating and cooling devices, etc.,
as referred to in (A) above.
(D) Aisles Ramped. In all arena theatres, there shall be no riser between the runway
and the stage. A ramp or other leveling device must be provided.
(E) Raked Stages. Prior to the construction of any raked stage, the Producer shall
promptly notify Equity, in writing, of such plans and provide such information as
Equity may reasonably request. It is understood that when a Producer is utilizing a
set from a prior production, said notice may not be possible and the Producer
agrees to notify Equity as soon as a determination is made that such set will be
utilized.
Whenever Equity approves the use of a raked stage, an instructor, such as a
physical therapist, sports therapist, or other qualified instructor, will give instructions
to the cast, prior to opening, as to how to perform on the raked stage in order to
minimize the risk of injury.




                                         42
(F) Guide Lights. All ramps, stairways, levels or platforms higher than three feet,
entrances and exits, cross-over areas, or off-stage passageways, which may be
affected by blackouts, shall be illuminated with guide lights or luminous tape. In
arena theatres, there shall be two guide lights on the edge of the stage and one on
each side of every ramp leading to the stage. In addition, there shall be a guide light
on each side of the aisle adjacent to the first row of seats of every aisle, and there
shall be guide lights on each side of every aisle at eight-foot intervals. There shall
be a warning light at eye-level on both sides of every pole located in an aisle, or any
other obstruction in an aisle, which Equity shall deem to be injurious or unsafe, and
there shall be side rails on any ramp adjacent to any pit, and level guide lights on
stage along the edge of any pit.
(G) Aisles. Aisles shall be maintained in a firm and even condition and if not
constructed of a hard surface such as concrete, asphalt, or macadam, must be
covered, and the coverings must be secure.
(H) Dancing Surfaces.
    (1) Actors shall not be required to rehearse dances or dance on concrete or
    marble floors or on any other surfaces which Equity shall deem to be injurious
    or unsafe, or on wood or on any other substance laid directly over such similar
    surfaces which do not provide air space of at least one-and-five-eighths (1-
    5/8ths) inches between the concrete or marble or similar supporting surface and
    the dancing surface.
    (2) Where a portable stage is used, platforms must be fastened securely and
    the stage completely covered by a level deck or decks of such material as wood
    or masonite. The edge of all decks must be clearly visible or protected by
    securely fastened guardrails.
    (3) Pits not in use shall be covered completely by a firm material.
(I) Cots. The Producer shall provide two cots backstage for performers during a
rehearsal or performance. These cots shall not be in a dressing room but shall be
easily available to the entire company. The Producer may, in lieu of the above,
provide a cot in each dressing room.
(J) First Aid Kits. Portable first aid kits, stocked with adequate supplies, including
latex gloves, and first aid information shall be available and easily accessible at all
times wherever the Actor is required to audition, rehearse, dress or perform.
(K) Intercom System. An intercom system between the stage area and the dressing
rooms shall be installed in all theatres in which Equity deems that the dialogue from
the stage is not clearly audible in the dressing rooms.
(L) Drinking Water. Ample, pure, cool drinking water shall be provided wherever the
Actor is required to audition, rehearse or perform.
(M)        All areas of the theatre must be equipped for air circulation, heating,
safety, safe access, and proper lighting.




                                        43
(N) Medical Services. An up-to-date list of medical services including doctors,
dentists and hospitals, must be posted on the call board at all times and qualified
medical personnel shall be available in case of emergency.
(O) Fire Safety Procedures. The Producer must post a diagram of the locations of all
fire exits and fire fighting equipment and proper procedures in case of fire,
earthquake or other disasters. The Producer shall consult with the local fire
department and formulate safety procedures that shall be given to the Actors prior
to dress rehearsal at least once for each production.
(P) Smoking Areas. In theatres and rehearsal areas where smoking is permitted,
areas shall be designated by the Producer as smoking areas, and smoking shall not
be permitted outside said areas.
(Q) Toxic Materials.
    (1) Equity and the Producer shall jointly work together (with such experts as are
    necessary) to identify and eliminate hazardous, toxic, or unsafe materials and
    procedures from the working environment.
    (2) Smoke and Haze Effects.
        (a) Permitted Substances. The Producer agrees to use only dry ice, liquid
        nitrogen, or substances listed in and in accordance with the specified limits
        set forth in the HEALTH EFFECTS EVALUATION OF THEATRICAL
        SMOKE, HAZE, AND PYROTECHNICS.
        (b) Notice Requirements. Prior to the use of any smoke or haze effect, the
        Producer must send written notification to Equity. The Producer must notify
        Equity of the name of the manufacturer, machine, fluid, attachments, any
        other products to be used and whether the effect will be following the time
        and distance calculations in the EQUIPMENT-BASED GUIDELINES FOR
        THE USE OF THEATRICAL SMOKE AND HAZE or a portable air-sampling
        monitor as outlined in the EVALUATION OF SHORT-TERM EXPOSURES
        TO THEATRICAL SMOKE AND HAZE AIR SAMPLING PROTOCOL both
        prepared by Environ International Corporation dated May 14, 2001 and as
        may be amended by Environ and Mount Sinai. The Producer shall also
        notify each Actor in a rider to the Actor’s contract that smoke and/or haze
        effects will be used in the production.
        Thereafter, the Producer must notify Equity, in writing, of any changes
        and/or additions to the original notification. The Producer must post all
        written notifications to the Actors’ callboard.
    (3) The Producer shall post such notices as are required by the regulations of
    the Occupational Safety and Health Administration.
(R) Parking. Producer shall provide parking for the Actors under the same conditions
as are generally and customarily offered to the majority of the Producer’s staff.
(S) Inspection and Compliance. The Producer agrees that Equity's representative
shall have the right to inspect the theatre to determine its compliance with the Safe
and Sanitary requirements set forth in the foregoing rules. Any deficiencies shall be


                                       44
    reported in writing to Equity and the representative shall furnish the Producer with a
    copy of such report. Upon receipt of such report, Equity may notify the Producer, in
    writing, to correct the deficiencies. Unless the Producer either corrects the
    deficiencies noted or gives Equity assurances satisfactory to it that such
    deficiencies will be promptly corrected, Equity or its Executives may certify the
    Theatre as unauthorized for rehearsal, for performances, or both, as Equity or its
    Executives may determine. Upon such certification and until correction of the
    deficiencies or the giving of assurances satisfactory to Equity that they will be
    corrected within a reasonable time, Equity may require Actors to refrain from
    auditioning, rehearsing and/or performing in the theatre.

48. SALARIES.
    (A) Rehearsal Salary. Rehearsal salary is the minimum performance salary unless a
    higher salary is specifically negotiated. Performance salary begins with first paid
    public performance and shall be continuous thereafter. When it is necessary to pro-
    rate salaries during the week of the first paid public performance due to a
    performance schedule with less than eight performances and when only a daylight
    day of rest is given, the following will apply: The Actor earns 1/7th of his rehearsal
    salary for each day of rehearsal and 1/8th of his performance salary for each
    performance. The total of these payments may be no less than the required
    minimum salary under this contract.
    (B) Performance Salary Minimums.
     Effective Date                  9/4/2006     5/28/2007   5/26/2008     6/1/2009
     Actors                              $875         $905          $935        $965
     Stage Managers                    $1,155       $1,195        $1,235      $1,275
      st
     1 Ass’t Stage Managers              $990       $1,025        $1,060      $1,095
     ASM/Actors                        $1,000       $1,035        $1,070      $1,105
In no case shall the Salary be less than these figures. Should the Consumer Price Index
as published by the U.S. Bureau of Labor statistics result in a dollar figure higher than
the aggregate percentage increase of salary and actuarial health contribution combined,
then the minimum salary will be increased by the appropriate percentage as of the
effective date.
    (C) Per Diem.
           (1) Each member of a production performing away from the Theatre shall
           receive $90.00 per day for expenses of room and board.
           (2) When the room cost (including applicable taxes but excluding all other hotel
           charges) for an Actor exceeds 50% of the required per diem, then the Producer
           shall reimburse that Actor for the excess over said 50% except where the Actor
           elects to arrange for his own accommodations.
    (D) Chorus Increments.



                                             45
    (1) Chorus Playing a Part. If a member of the Chorus is required to play a part,
    speak lines, sing a song, or perform a dance that is individual in its character,
    the Chorus shall be paid not less than $25.00 per week in addition to Chorus’
    weekly contractual salary for each such assignment or part, beginning with the
    first paid public performance.
    (2) Chorus as Understudy. All understudy assignments shall be shown on the
    face of the contract or by rider and the Actor shall be paid from the date of
    assignment or the first rehearsal, whichever is applicable.
        (a) Understudy for Principal Role. If a member of the Chorus understudies a
        Principal Role, Chorus shall be paid not less than $40.00 per week for each
        such role in addition to Chorus’ weekly contractual salary.
        (b) Understudy for Chorus Playing Parts. If a member of the Chorus
        (including Swings) understudies another member of the Chorus who is paid
        for playing a part, speaking lines, singing a song, performing a dance that is
        individual in its character, Chorus shall be paid not less than $20.00 per
        week for each such understudy assignment or part in addition to weekly
        contractual salary.
(E) Stage Fighting/Stunts. If the Fight/Stunt Director or Choreographer is not present
during the run of the production, a Fight/Stunt Captain must be selected within the
first week of fight/stunt rehearsals and paid not less than an additional $35.00 per
week from the beginning of that week. [See Rule 54 STAGE FIGHTING.]
(F) Full Swings And Partial Swings.
    (1) Full Swing. Full Swings will not be required under this contract (except as
    provided in Rule 37, PRE-BROADWAY/PRODUCTION TRYOUT) unless the
    Production is going to tour (not applicable to transfers), in which case a Full
    Swing of each gender must be employed from the first day of rehearsal.
    Minimum Salary for a Full Swing is $50.00 per week above the minimum salary.
    A Full Swing is defined as a non-performing member of the Chorus who swings
    all or fewer than all chorus performing Chorus numbers in the production.
    (2) Partial Swing. If a member of the Chorus is designated to Swing a Chorus
    number in a production, and is not hired solely as a Full Swing performer [see
    (F)(1) above], Chorus member shall receive not less than $15.00 per week in
    addition to Chorus’ weekly contractual salary for each such number so
    assigned.
    (3) If Full Swings are not employed, all chorus parts and specialties will be
    assigned a chorus understudy not later than two weeks prior to the first paid
    public performance. [See Rule 48(D)(2)(b) SALARIES, Chorus Increments.]
(G) Dialect Coach. If an Actor is asked to instruct others in speaking a dialect,
foreign language, or translates or interprets a script, he shall receive not less than
$65.00 per week.
(H) Overtime.



                                       46
    (1) Overtime shall be payable at the rate of $15.00 per one-half hour or part
    thereof.
    (2) If the rest period between the end of employment on one day and the
    beginning of employment on the next day is invaded, it shall be paid for at one-
    and-one-half times the overtime rate.
(I) Salary Payment and Checks.
    (1) Salaries shall be paid no later than the evening prior to the last banking day
    of the week but in no event later than Thursday.
    (2) The Producer may pay salaries by check only if facilities are made
    immediately available for cashing said checks. In any event, no check or draft,
    either of the Producer or of a third party, given to or received by the Actor in
    payment of any sum under the Actor's contract of employment, shall operate to
    minimize or affect the Actor's claim for salary or other compensation under the
    Actor's contract.
(J) Contingent Compensation.
    (1) No employment contract shall be entered into by the Producer or Actor
    where in whole compensation is contingent upon receipts. In no case shall
    compensation be contingent upon profits.
    (2) In any contract of employment that provides that the Actor's compensation
    shall be increased upon the gross weekly receipts reaching a stipulated amount
    or amounts, the gross weekly receipts shall be based on an eight-performance
    week. All performances in excess of eight per week shall be paid for pro-rata of
    the salary due according to the weekly grosses set forth.
    (3) If the total gross receipts for all performances, including extra performances
    within any week, shall reach an amount at which the Actor's salary is to be
    increased, the Actor shall be paid for the first eight consecutive performances at
    the rate of the gross receipts for those eight performances, and for the extra
    performances he shall be paid at the higher rate which is based on the total
    gross receipts for that week.
(K) Actual Salary. The actual salary of the Actor agreed upon shall be stated in the
contract and a lesser or fictitious salary shall not be stated in the contract. A rider to
the Actor's contract shall be issued if his salary is increased, provided any such
increase shall be the result of bona fide renegotiation of the Actor's contractual
salary.
(L) Additional Duties. The Actor shall not be required to do any additional work for
which there is not a specified payment in this Rulebook without mutual agreement in
writing. Any additional duties assigned after Actor’s contract is signed shall be at the
specified rate in the agreement. Duties assigned to the Actor that are not defined in
this Agreement shall be paid at no less than $20.00 per assignment per week.
(M) Itemized Deductions. The Actor shall be provided with a breakdown of salary
deductions, additional payments and overtime with his weekly salary.



                                         47
49. SECRET VOTE.
   (A) At all meetings of the Equity members of the company called by the Deputy or
   the Stage Manager, the vote shall be by secret ballot.
   (B) Should any situation arise where the Producer wishes the company to consider
   any proposition not covered by the standard Equity contracts of employment or
   Equity rules, the Producer shall notify the Deputy and the Deputy shall arrange a
   meeting of the cast, which may be held at the theatre where the company is playing.
   At such meeting or meetings, neither the Producer nor his representative shall be
   present unless so requested by a majority of the cast but not in any event when a
   vote is taken. Any proposed action by the cast shall not, however, be binding
   without the written approval of Equity.
   (C) The determination of Equity as to any issue arising under the above provision
   shall be final and binding upon the Producer and each Actor.

50. SECURITY AND SECURITY AGREEMENTS.
   (A) Security Agreements.
       (1) The provisions of any and all agreements relating to security deposited or
       agreed to be deposited with Equity covering any employment under this
       Agreement and any contracts of employment are hereby adopted and made
       part of this Agreement and said contracts. This includes agreements on forms
       now called “Bond,” “Security Agreement,” and “Producer's Statement.”
       (2) It is of the essence of this Agreement and all contracts of employment and a
       condition precedent to the engagement of the Actor that the Producer shall
       have filed and maintained with Equity a satisfactory security as required by
       Equity's existing Security Agreement and Rules.
   (B) Posting of Security.
       (1) A Producer shall be ineligible to employ Actors on Equity contracts unless
       and until such Producer shall have furnished security in such amount and in
       such manner and form as may be satisfactory to Equity to insure the payment
       of the claims of Actors against such Producer.
       (2) No Actor shall work or be required to work or continue in the employment of
       any person or Producer or any company, if and when Equity shall be
       dissatisfied with the quality or amount of any security which may be offered or
       given or requested by Equity to secure the payment of any claim, present or
       future, of any Actor.
   (C) Return of Security.
       (1) After the company has closed, provided all claims and obligations required
       by or arising out of this Agreement have been satisfied, the security deposited
       with Actors' Equity shall be returned to the Producer six weeks from the receipt
       of a written request for its return.




                                         48
       (2) The Producer shall have the option to designate the security in effect at the
       end of a season as security for the next ensuing season by giving Equity written
       notice to that effect.
       (3) If Equity has a liquidated claim against a Producer at the end of the season
       and the same is pending or noticed for arbitration, Equity shall withhold no more
       than double the amount of the claim and release the rest.

51. SET MOVES.
   An Actor in character may, consistent with that character, set or move scenery or
   props only in scenes in which the Actor enters or exits.
   (A) Actor shall be paid no less than $10.00 per week for performing each set move
   not in accordance with the above.
   (B) Set or prop moves are not permitted that are inherently hazardous. These
   include, but are not limited to, those due to: location on stage; weight of the set
   piece or prop, construction, pyrotechnic or electrical effects; or, proximity to
   machinery or to simultaneous movement of other scenery. Determination of whether
   a prop or set move is inherently dangerous will be made by Equity in consultation
   with the Producer.
   (C) Also not permitted are set or prop moves which interfere with the normal work of
   the Actor, or to which the Actor may be engaged to the exclusion of work normally
   assigned to the Actor.

52. SICK LEAVE, ILLNESS, BEREAVEMENT, AND PARENTAL LEAVE.
   (A) Each Actor shall accrue one day of sick leave and/or bereavement leave for
   each four weeks of employment.
   (B) If questioned, the validity of the illness as a requisite for sick leave shall be
   determined by a committee consisting of the Deputies, Stage Manager and a
   Producer's representative, and such determination shall be final and binding on the
   Actor and the Producer.
   (C) Should the illness of an Actor continue for two weeks or more after the Actor's
   sick leave is exhausted, Equity shall, at the request of the Producer, have full power
   to modify or terminate the Actor's contract upon such terms as it may consider just,
   if it shall be satisfied that it will be necessary for the Producer to employ a
   successor.
   (D) If the Actor cannot perform on account of illness, injury, or any other valid
   reason, then the Actor shall not be entitled to any salary, except as provided above
   or in Rule 27, INJURY AND SUPPLEMENTAL WORKERS’ COMPENSATION, for
   the time during which said services shall not, for such reason or reasons, be
   rendered.
   (E) Parental Leave. The Producer agrees to abide by the prevailing State and
   Federal laws regarding Parental Leave.



                                          49
53. SOCIAL SECURITY - UNEMPLOYMENT INSURANCE.
   (A) It is understood and agreed that the Actor is entitled to the benefit of all Federal
   and State enactments constituting what is commonly known and designated as
   Social Security Acts or laws including Old-Age and Unemployment Insurance and
   that the Producer during the term of this Agreement and all contracts of
   employment shall pay any and all taxes or payments required to be paid by
   employers under the provisions of said law. The Producer agrees to provide Social
   Security Benefits under the elective provisions of the Social Security Law, if it is not
   required to provide benefits under the law. In the event the services of the Actor are
   not subject to the compulsory provisions of an Unemployment Compensation
   (Insurance) Law of any State, then the Producer hereby agrees that it will elect to
   cover the Actor and pay contribution on the earnings of the Actor under the elective
   provisions of the Unemployment Insurance Law of the State of California and/or
   such other eligible state as Equity may determine to be in the best interests of the
   majority of the Actors employed by the Producer.
   (B) In the event, however, the Producer is not eligible to elect to come under the
   California State Unemployment Insurance Law and if Equity has not designated
   another eligible state, then the Producer agrees to elect to come under the
   Unemployment Compensation (Insurance) Law of the State where it has its
   principal place of business, or of the State of the Actor's residence, or of the State
   where the contract of employment was entered into.
   (C) The Producer agrees to elect coverage and to pay contributions within the time
   required by applicable state law. When such election is made to California State,
   the Producer agrees to report the Actor by name, social security number and by
   California address to the appropriate agency during the first week of the Actor's
   employment and, in no event, later than the quarter in which the work is performed.
   (D) The Producer agrees to execute and file the necessary forms required by the
   State Unemployment Compensation (Insurance) Law under which it has elected to
   cover the Actor and shall notify the Actor of his election.
   (E) Simultaneously with the posting of security, the Producer shall submit proof,
   satisfactory to Equity, that it has applied for Unemployment Insurance Coverage,
   and deliver a true copy of its application to Equity. The Producer warrants and
   represents that it will not withdraw such application, nor modify or change it without
   the written consent of Equity.
   (F) In the event any Producer fails to apply for Unemployment Insurance Coverage
   or withdraws or modifies any application for such coverage without the written
   consent of Equity, or fails to elect coverage within the time required by applicable
   state law, or fails to pay the required insurance contributions to the appropriate state
   agencies within the time required, the Producer in that event must pay to the Actor
   the equivalent of any Unemployment Insurance Benefits the Actor may lose as a
   result thereby. This obligation shall survive the termination of the Actor’s contract of
   employment.




                                           50
   (G) Equity may require the Producer to furnish satisfactory evidence that it has
   obtained and maintained maximum Unemployment Insurance Coverage for Actors
   employed by it in accordance with this rule. If Equity is not so satisfied, it may retain
   the Producer's Security (Bond) as a fund against claims.

54. STAGE FIGHTING.
   The following regulations shall be followed whenever a production requires an Actor
   to engage in stage fighting/stunts, with or without weapons, and/or choreographed
   movements such as falls, throws, or tumbling, as it pertains:
   (A) No Actor shall be required to participate in stage fighting unless the Actor has
   agreed to same by means of a signed rider.
   (B) If the Fight/Stunt Director or Choreographer is not present during the run of the
   production, a Fight/Stunt Captain must be assigned. The function will require an
   additional payment of $35.00 per week if an Actor is so assigned.
   (C) All Actors who participate in a fight/stunt shall run through the routine during the
   15 minutes prior to half-hour. Any exception to this rule shall be at the express
   discretion of the Fight/Stunt Captain. Such run-throughs are permitted to impinge
   upon the regular breaks and/or hours
   (D) If performing members of the company are required to rehearse fight(s)/stunt(s)
   with understudies and/or replacements, it must be during regular rehearsal hours.
   (E) Proper first-aid information and equipment shall be made available to the
   Fight/Stunt Captain.
   (F) The Fight/Stunt Director or Choreographer and/or Fight/Stunt Captain shall
   consult with all other artistic personnel to achieve the optimum degree of safety
   regarding the choreography, playing area, and equipment used.
   (G) Understudies and replacements shall be rehearsed by the Fight/Stunt Director or
   Fight/Stunt Captain. Performing members of the Company shall rehearse stage
   fighting/stunts with understudies and replacements during regular rehearsal hours
   under the direction of the Fight/Stunt Director or the Fight/Stunt Captain at least
   once prior to the understudy or replacement Actor’s performance in any role.
   (H) Firearms. Whenever firearms are used in a production, there shall be a safety
   demonstration conducted by a qualified individual for the entire company, prior to
   the first paid public performance or use of firearms in rehearsal, whichever occurs
   first, which demonstration time shall be counted as rehearsal time. Thereafter,
   safety demonstrations and/or instructions shall be required for all affected
   replacement Actors as well as Swings and Understudies, before their first paid
   public performance, which demonstration time shall be counted as rehearsal time.
   For any production that runs eight weeks or longer, a brush-up safety demonstration
   and/or instruction shall be required. Any and all modifications to firearms shall be
   done by a licensed gunsmith.
   The Producer agrees that all applicable State and Federal guidelines will be
   followed whenever firearms are used in a production.


                                            51
55. STAGE MANAGERS AND ASSISTANT STAGE MANAGERS.
  (A) Stage Managers.
      (1) A Stage Manager shall be the individual who is assigned to and is primarily
      responsible for a specific production or productions.
      (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
      duties of a Stage Manager.
      (3) There shall be no less than one Stage Manager employed in each company
      and each production must be assigned a Stage Manager who shall be primarily
      responsible for the stage managerial functions.
      (4) Each Stage Manager shall be engaged and receive contractual salary
      beginning at least one week prior to any rehearsals for each production of the
      season unless already under contract.
      (5) If the Producer terminates the Stage Manager's employment, said Stage
      Manager may not be re-engaged or replaced in the same season at a lesser
      salary.
  (B) 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.
      (2) There shall be at least one First Assistant Stage Manager for each
      production. When a production tours, there will be no less than one Stage
      Manager and two Assistant Stage Managers. [See Rule 59(A)(8)TOURS.]
      (3) The First Assistant Stage Manager shall be engaged prior to the start of
      Equity rehearsals for at least 3 days and receive not less than 1/6th of
      contractual salary for each day worked.
      (4) Producer agrees, upon consultation with the Stage Manager(s) and Equity,
      due to technical complexities, safety issues, and/or cast size, to consider hiring
      an additional Stage Manager.
  (C) No Stage Manager shall perform pre-production work without a signed contract.
  When a Stage Manager is called to perform services for a production either prior to
  or after the period of employment, he shall be paid no less than 1/6th of the weekly
  contractual salary per day or the applicable overtime rate for each hour worked. Any
  call over the three hours in duration shall be paid at the rate of 1/6th of weekly
  contractual salary.
  (D) The Stage Manager and the First Assistant Stage Manager may not act. When
  two Assistant Stage Managers are required, the Second Assistant Stage Manager
  may not act, understudy, or swing, without prior written consent from Equity.



                                         52
(E) Working Conditions for Stage Managers and Assistant Stage Managers.
   (1) Whenever any members of the cast are called, the Stage Manager or
   Assistant Stage Manager shall be called.
   (2) A Stage Manager or Assistant Stage Manager must be present at all
   rehearsals and on the deck or in communication from the booth with all
   backstage areas during all performances, run-throughs, technical rehearsals,
   and dress rehearsals.
   (3) In addition, if the show is run from a booth, a Stage Manager or Assistant
   Stage Manager must be in communication from said booth with all backstage
   areas during all performances, run-throughs, technical rehearsals and dress
   rehearsals.
   (4) Under no circumstances shall anyone other than the Stage Manager or
   Assistant Stage Manager “be on book” calling the cues of a production.
   (5) Meal breaks shall be the same intervals as for actors, but not necessarily at
   the same time. If the Producer requires the Stage Manager or Assistant Stage
   Manager to work during the meal break, including, but not limited to, work which
   is necessary in order to enable a rehearsal to resume properly and
   appropriately on time, the Producer shall provide the Stage Manager or
   Assistant Stage Manager with a meal and pay a minimum of one hour of
   overtime.
   (6) The rest period between the end of employment on one day and the
   beginning of the next shall be ten hours. During the four days preceding either
   the first public performance or the opening but not both, the rest period shall not
   be less than eight hours. Until such time that the ten or eight hour rest period is
   given, whichever is applicable, the Stage Manager and/or the Assistant Stage
   Manager whose rest periods have been violated shall be compensated at the
   overtime rate. The overtime payment shall continue until the applicable rest
   period is given.
   (7) If the Stage Manager and/or Assistant Stage Manager is called by the
   Producer on the day off, he shall receive an additional 2/6ths of weekly
   contractual salary.
   (8) All rules for Actors pertaining to rehearsals, performances, overtime, breaks,
   rest periods, days off and travel time shall also be applicable to Stage
   Managers and Assistant Stage Managers except where expressly stated
   otherwise.
   (9) If the Stage Manager and/or Assistant Stage Manager rehearse(s) and/or
   perform(s) with Actors hours which would have given an Actor overtime had the
   Actor rehearsed and/or performed those same hours, the Stage Manager
   and/or Assistant Stage Manager shall receive the overtime compensation that
   would have been due the Actor.
   (10) The following activities are prohibited and a Stage Manager or Assistant
   Stage Manager shall not accept responsibility for the following:


                                       53
    (a) Having contracts or riders signed or initialed; or performing any other
    function that normally comes under the duties of the General Manager or
    Company Manager (which is not to preclude delivery of a sealed envelope
    addressed to the individual Actor/Stage Manager).
    (b) Signing the closing notice of the company of the individual notice of an
    Actor upon termination of contract (which is not to preclude posting of all
    closing and other permanent company notices).
    (c) Doing the payroll or distributing payment, including, but not limited to
    salary and per diem.
    (d) Doing building maintenance, janitorial, custodial or house management
    work.
(11) The Stage Manager or the Assistant Stage Manager shall not be required
to transport any employees of the Producer, including, but not limited to, Actors,
directors, and designers, to appointments, performances, or rehearsals.
(12) The Stage Manager and/or Assistant Stage Manager shall not be required
to order or distribute food for the Company, arrange living accommodations, or
do building maintenance, janitorial or custodial work.
(13) It shall not be a condition of employment that any of the Stage Managerial
Staff own a motor vehicle.
(14) Stage Managers and Assistant Stage Managers shall not be required to
perform the following unless they are contracted and compensated separately
from the Equity contract; if a separate, written contract is made, a copy of such
contract shall be forwarded to Equity:
    (a) Design, build, hang, transport, operate, shift, run, shop for or maintain
    lights, sound, scenery, props, video, wardrobe, animals, etc.
    (b) Arrange living accommodations
    (c) Order or distribute food for any members of the production.
    (d) Be responsible for any aspect of transportation or be responsible for the
    maintenance of any vehicle.
    (e) Be responsible for any aspect of laundry or dry cleaning.
    (f) Be responsible for setting up stage managerial tech tables for technical
    rehearsals.
(15) Tech Week Bump-Up. The Stage Manager and Assistant Stage Manager
shall receive an additional single payment of 1/6th of the WCLO minimum salary
in the week including the first paid public performance.
(16) Experience Required. Because of the responsibilities of the Stage Manager
for the success of the production and safety of the Actors, the Producer will use
Producer’s best efforts to employ a person who is experienced in theatrical
stage management. [See Rule 14, CONTRACT.]



                                   54
       (17) The Stage Manager will receive overtime any week in which he exceeds
       the maximum hours allowed the Actors by more than 15 hours in rehearsal,
       non-rehearsal and/or performance duties. In the week when the majority of “10-
       out-of-12” rehearsal hour days occur, said hours shall be increased to 20.
       Nevertheless, any time an Actor receives overtime, the Stage Manager shall
       also receive overtime.
       (18) When working the allowed “10-out-of-12” rehearsal hour days prior to the
       first paid public performance, any Stage Manager or Assistant Stage Manager
       living more than 35 miles from the theatre will be provided with housing.
   (F) 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 and that the production script remains the property
       of the Producer.
       (2) No member of the Stage Managerial Staff will be required to prepare any
       additional production script or book for publication or archival purposes or for
       use in any other production of the play or musical.
       (3) In the event the Producer requests in writing any member of the stage
       managerial staff to prepare an additional Production Stage Manager script or
       alter same for any of the above purposes he may agree provided that he is paid
       no less than one week’s contractual salary for each such preparation.

56. SUBSIDIARY RIGHTS.
   (A) Should an Equity Showcase or Los Angeles 99-Seat Theatre Plan Production be
   produced under this contract within five years of its last performance as a
   Showcase or Los Angeles 99-Seat Theatre Plan production, all Equity members
   engaged in such production must receive a written bona fide offer to perform the
   same role or function(s) for which they were engaged in such production. If such
   bona fide offer is not made, the Actor shall be compensated in the amount of four-
   weeks minimum Production Contract salary. If more than one such production has
   been produced within five years, the Producer shall be responsible hereunder only
   to the cast of the first such production.
   (B) If an Actor accepts a role or function in the production different from the one the
   Actor performed in the Showcase or other such production, Actor may agree with
   the Producer to waive the payment required under this rule.
   (C) This provision is not applicable where the subsequent production under the
   WCLO Agreement is not the first standard Equity contract presentation of the play
   within five years of the Showcase, or other such production, provided the
   intervening contract presentation has satisfied the applicable conversion rights
   clause.




                                           55
57. TELEVISING, FILMING AND RECORDING.
   (A) Except as provided below, there shall be no televising, broadcasting, visual
   and/or sound recording, motion picture filming, video taping, or other mechanical or
   electronic reproduction (hereinafter “Reproduction”) in whole or in part, of any
   production, including rehearsals, in which Actors are employed under the terms of
   this agreement without the express permission of Equity and under terms and
   conditions established by it. This rule shall also apply to any Reproduction made
   within a period of 16 weeks following the final performance of the production.
   (B) Reproduction for Broadcast by a Non-Profit Educational Broadcast Station. A
   Reproduction, in whole or in part, of a production in which Actors are employed
   under the terms of this agreement may be made for local broadcast by a non-profit
   educational broadcast station under the following terms and conditions:
       (1) The Actor must give his consent in writing and Equity must be notified in
       advance.
       (2) Each Actor of the cast (including Stage Managers, Dance Captains,
       Understudies and Swings) shall receive one week's salary at the applicable
       minimum in addition to all compensation required under the appropriate SAG or
       AFTRA contract for such work, provided that such additional compensation
       shall not be less than that required under the AFTRA/EBC agreement.
       (3) If the Reproduction takes place outside the theatre and the Stage Manager
       and/or Dance Captain performs any services related thereto at the request of
       the Producer, he shall, in addition to all other payments under this rule, be paid
       an additional 1/6th of his weekly contractual salary for each day or part thereof
       so employed.
       (4) Where the Reproduction occurs in the theatre, there may be no cast
       changes other than those that might normally occur during the course of the
       play's run. Where the Reproduction occurs outside the theatre, each Actor
       appearing in the theatrical production must be offered the same role for the
       Reproduction and may be free to negotiate terms and conditions under his
       agreement satisfactory to him, unless the Actor does not wish or is unable to
       appear in the Reproduction.
       (5) In the event that during the run of the theatrical production more than one
       actor has contracted for and appeared in a particular role (exclusive of Actors
       who may have appeared only in an understudy capacity) the employer shall be
       free to choose such Actor as he wishes for the Reproduction. In the event the
       Reproduction is produced outside the theatre and is altered in such fashion as
       to delete one or more roles, the Actors who had played such roles shall
       nevertheless be compensated in accordance with (B)(2) above.
       (6) Notwithstanding the work schedule permitted under the AFTRA and/or SAG
       agreements, the Actor must have no less than a two-hour rest period prior to
       the half-hour call at the theatre.



                                          56
    (7) Showing over additional outlets is prohibited unless the terms shall first have
    been negotiated and agreed to by the Producer, Equity and the Actor.
(C) Reproduction for News and/or Community Affairs Broadcasts and Media Internet
Sites. Subject to the conditions listed herein, a Reproduction may be made of the
production for use on a TV or radio newscast or Internet review of the production
and/or a feature story on the production, the Theatre or the arts or any of the artists
connected with the production contained within a TV or radio news program, local
public affairs or magazine format programs or on media Internet sites. Equity will
view with favor and give serious consideration to media projects for individuals with
disabilities and community service programs.
    (1) During a rehearsal:
        (a) Filming or taping sessions shall not exceed ½-hour of the regularly
        scheduled rehearsal.
        (b) The Stage Manager shall file a report with Equity giving the time utilized
        for the filming or taping session. Said report shall be initialed by the deputy.
        Upon contemplation of filming or taping during a rehearsal, the Producer
        shall make every reasonable effort to give the cast 24-hours’ notice.
        (c) Up to three filming or taping sessions may be scheduled and all stations
        must do their filming or taping during those three sessions.
        (d) If the time of filming or taping is changed, the Producer shall notify the
        cast of such change and of the rescheduled time.
    (2) At a Performance:
        (a) Filming or taping may be for only ½-hour of footage.
        (b) If possible, the cast must be given 24-hours’ notice.
        (c) When cameras are going to film or tape, the cast must be given notice
        at the half-hour call.
        (d) 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:
        (a) No more than three minutes of any filmed or taped portion of the
        performance or rehearsal shall be shown on the TV news broadcast or
        community affairs program nor may the edited footage shown depict an
        entire scene or musical number.
        (b) No payment shall be required provided no payments are made to any
        other personnel employed in the production.
        (c) An Equity Stage Manager is required at every filming or taping.
        (d) For any violation hereof other than violations of unauthorized
        subsequent use of the film or tape, the Producer shall pay one-week’s
        contractual salary or Production Minimum, whichever is greater, to each


                                        57
        Actor whose rights have been breached hereunder. Such payments shall
        not preclude any right in law or equity, civil or criminal, that arises under a
        breach of this rule, which the Actor or Equity has against the Producer or
        any third party.
(D) Reproduction for Non-Broadcast Public Relations, Fund-Raising, Marketing, or
Civic Promotion. Actors performing or rehearsing in a production under the terms of
this Agreement may participate, without additional compensation, in the
Reproduction of material for use by the Producer in public relations, fund-raising,
marketing, or civic promotion programs under the following terms and conditions:
    (1) The Actor must be fully advised as to the nature and purpose of such
    Reproduction and must give his consent to it in writing.
    (2) All Reproduction must occur during regularly scheduled and allowed
    rehearsal or performance hours.
    (3) An Equity Stage Manager must be present at all Reproduction sessions.
    (4) All Actors involved must be given notice at least 24 hours prior to each
    performance or rehearsal that is to be reproduced.
    (5) The Producer shall receive no compensation for the exhibition of any
    material reproduced under the terms of this provision.
    (6) The Producer will provide Equity with full particulars of the Reproduction
    including times and places of exhibition and the names of all companies or
    organizations involved in the Reproduction or editing of the material, as well as
    details of the proposed use.
    (7) The Producer will provide Equity with the opportunity to view the completed
    Reproduction.
    (8) The Producer will maintain control and ownership of all material reproduced
    and will ensure that it is used for no commercial purposes whatsoever.
    (9) Material reproduced under the terms of this provision may constitute up to
    25% of the completed Production, if for public relations or fund-raising, but in no
    case more than a total of ten minutes. Such edited footage may not depict an
    entire scene or musical number. If the Reproduction is to be used for civic
    promotion programs or for showing at point of purchase locations (e.g., video
    monitors near a box office), the Reproduction must be no more than three
    minutes in length.
    (10) The provisions of this section are not intended to allow Reproduction for
    the creation of television commercials and may not be used in such
    commercials.
    (11) The Producer may retain and use Reproduction made under this rule for a
    period not to exceed three years, after which the Reproduction shall be
    transmitted to Equity to be destroyed.
(E) TV and Radio Commercials. The Actor may make a television or radio
commercial of one minute or less, using material from the production, provided the


                                        58
Actor receives no less than the AFTRA or SAG minimum for such work. When a
Stage Manager or Dance Captain is required to do any work in connection with a
TV or radio commercial the Producer shall pay no less than the applicable SAG or
AFTRA minimum of a Principal (on camera) to the Stage Manager. Actors and
Stage Managers must be signed to the applicable AFTRA/SAG code. In the event a
local AFTRA/SAG office waives jurisdiction, the applicable AFTRA/SAG rate must
be paid to the Actors and Stage Managers.
The above notwithstanding, Equity will permit the Signatories to this Agreement to
utilize film, videotape, or still photos of the specific production which has been shot
at the Signatory’s theatre under the provisions of (C) above, Reproductions for
News and Community Affairs Telecasts, to be used in the production of a
commercial of up to one minute to promote the specific production at the
Signatory’s theatre.
In this instance only, Equity shall not require additional compensation to be paid to
the Actor(s) for such usage, providing the following conditions are met: (1) the
footage was shot during a regularly scheduled rehearsal or performance; (2) all the
provisions of (C) above are strictly in force; and (3) the applicable office of AFTRA
and/or SAG concurs. Any commercial made under this provision may be used only
to promote the specific production at the Signatory theatres.
(F) Cast Album. A Cast album may be made under this agreement. All Actors &
Stage Managers involved in the recording of a “cast album” must be signed to an
Original Cast Album Rider provided by Equity. The Producer agrees that any Actor
who sings or verbalizes in the production in any number, plus the Stage Manager,
shall be employed on the appropriate AFTRA contract for the recording of said
album and shall receive not less than one week’s contractual salary for each day or
part thereof so employed except as provided in paragraph 1, below. Such cast
album shall accord credit to each Actor appearing in the production at the time the
recording is made, whether or not the Actor performs on the recording.
    (1) In the event the Producer wishes to schedule half-day recording sessions
    after the first day of recording and pro-rate payments for said half-day sessions,
    the Actor shall receive not less than one-half of the Actor’s weekly salary, up to
    a cap of 250% of the Production contract minimum salary, or the AFTRA rate,
    whichever is higher, for each day that the Actor is employed for four hours or
    less and each Actor shall receive a pro-rata share of 20% of all monies derived
    by the Producer from the exploitation of the album. (Note: In the event the
    Producer does not elect this pro-ration formula, the Actors will share in the
    standard 15% of monies derived by the Producer. Terms for Actor participation
    on the Producer’s 15%/20% are identified in the Original Cast Album Rider.)
    (2) Producer shall give Equity not less than 72-hours notice (inclusive of at least
    two business days) prior to such recording.
    (3) If, during the recording of a cast album, one or more singers who are not
    members of the Equity cast are engaged, then Swing singers and Understudies
    assigned to singing parts who are not engaged to record the cast album shall
    share equally in an amount equal to the average contractual salary of said


                                        59
    Swings and Understudies multiplied by the number of employment days of such
    supplementary singers.
    (4) For cast album recordings only, there shall be not less than a 10-hour rest
    period between an evening performance and a morning recording call. There
    shall be a break of one-and-one-half hours (one hour if a meal is provided)
    between the recording session and rehearsals or performances scheduled
    under the Equity Agreement. Recording sessions may not be scheduled on two
    performance days. Application of this rule may not reduce breaks or rest
    periods required by the AFTRA contract.
(G) This rule shall apply in all instances irrespective of the use made of such
Reproduction, the method employed in obtaining same, or the length or character of
the "part" of said production so reproduced.
(H) Nothing contained herein shall negate or minimize the Actor's right to negotiated
payments for any Reproduction. If the minimum payments herein required for any
Reproduction should be less than the minimum rate required by the American
Federation of Television and Radio Artists or the Screen Actors Guild for such work,
then the Actor shall receive not less than the AFTRA or SAG minimum. Overtime,
residuals or any other additional payments that may become due the Actor are not
included in the minimums specified herein.
(I) The Actor shall not knowingly participate in any Reproduction except under the
circumstances set forth above or unless Equity otherwise consents thereto in
writing.
(J) Closed Circuit Television. It is not intended that this rule apply to closed circuit,
pay television, or the making of cassettes or other audio-visual reproduction for
public sale or distribution, and the Producer agrees that there will be no closed
circuit, pay television or the making of cassettes or other types of audio-visual
reproduction of the production without prior negotiations and agreement with Equity
as to the payments and working conditions for said Reproduction.
(K) Internet Websites. Up to a total of three minutes of rehearsal and/or
performance footage (of which no continuous sequence shall exceed 30 seconds)
may be used, without additional compensation, except as expressly provided in this
Rule 57(K), as follows:
    (1) On Websites of the Producer; not-for-profit arts and tourism-related
    agencies of the city, county, state and intra- and inter-state region in which the
    Theatre is located; local Rotary, Chamber of Commerce and local not-for-profit
    “booster” organizations; and the Theatre Communications Group, American
    Arts Alliance, and other not-for-profit Arts service and Arts promotion
    organizations, provided the Actor shall be fully advised as to all potential users
    and must give his consent in writing:
    (2) On Websites of sponsors and/or supporters of the Producer, provided:
        (a) The Actor’s likeness is used solely to acknowledge the sponsorship or
        support and is not in any way used directly or indirectly to endorse the
        sponsor or a specific product of the sponsor;


                                         60
           (b) The footage is on a separate page from any product promotion or
           advertisement;
           (c) The Producer shall receive separate permission from the Actor, specific
           to the sponsor/supporter Website, which permission shall not be a condition
           of employment. The Actor shall be fully advised as to the names of
           sponsors and supporters and the specific Website usage. Permission shall
           be limited to the specific sponsors named and footage shall not be given
           later to a different sponsor. Permission shall be granted in each case for no
           more than two years form the time such permission is granted. The Actor
           may negotiate a lesser time period;
           (d) The Producer shall indemnify the Actor against any breach of an Actor
           exclusivity clause when such breach is a result of the use not authorized by
           this Rule, 57(K)(2);
       (3) For all Website usage, neither merchandise promotion nor ticket sale
       information shall be presented on the same “page” as the Reproduction, but
       may be presented on a separate “page.” However, the “page” containing the
       Reproduction may indicate how to get to the “page” which does have
       information about merchandise or tickets. It is also understood that there may
       be no promotion of any other product(s) on the “page” where the Reproduction
       will be seen without Equity’s prior written consent. If voice-over or other live
       Actor work performance is required, in addition to the permitted performance
       footage, the applicable AFTRA/SAG Agreements shall apply to such voice-over
       or other work.
   Use of footage for any purpose other than specified above is strictly prohibited. For
   any violation under this rule, the Actor shall be paid no less than two weeks’
   contractual salary in addition to any AFTRA or SAG amounts that may be due.
   (L) Filming, Taping or Recording for Use in the Production. [See Rule 41,
   RECORDINGS.]

58. TERMINATION.
   (A) It is the essence of all employment contracts that all notices thereunder,
   company and individual, must be in writing. Copies of all notices must be filed with
   or mailed to Equity forthwith by the party (Actor or Producer) giving notice. Full
   power is reserved to Equity to grant relief from this rule where, in its opinion, the
   person or persons to whom notice was not given has not or have not been misled or
   injured.
   (B) Notice.
       (1) All formal notices given either by Producer or Actor must be given in written
       form. All notices to the Producer may be given to the Producer personally, or in
       a sealed envelope to the Company Manager or Stage Manager. Notice to the
       Actor must be given to the Actor personally in writing unless the Actor is not at
       the theatre location, in which case it may be given by registered or certified
       mail, telegram or facsimile to the Actor’s last known address.


                                          61
    (2) All communications which refer to the company in general shall be posted
    upon the callboard.
(C) Notices of termination or closing given at or before the end of the performance
on Monday night, effective at the end of the Saturday night of the week following
shall be deemed two-weeks’ notice. If the company's playing week is Tuesday
through Sunday, substitute Tuesday and Sunday for Monday and Saturday,
respectively, in the foregoing sentence. In either case, the Actor's final day of
employment shall be a Saturday or Sunday, depending on the Theatre's
performance schedule.
(D) Just Cause.
    (1) No Actor may be terminated except for “just cause.” If requested by the
    Actor, the Producer must furnish the reasons for dismissal to the Actor and
    Equity in writing within two weeks of such request. Equity may then investigate
    the basis for any discharge. If Equity desires to challenge any discharge, then
    the matter shall be submitted to arbitration in the manner provided in Rule 4,
    ARBITRATION. This provision shall not apply until one week after the press
    opening performance of each production but in any event no later than two
    weeks after the first public performance of each production.
    (2) In the event “just cause” is not found, the arbitrator’s award shall be limited
    to monetary damages, which shall not exceed the balance of the unexpired
    term of the Actor’s original engagement less any monies paid in lieu of notice
    and any monies earned under another Equity contract during the period.
(E) Standard Termination.
    (1) Before and During Rehearsal.
        (a) Any Actor earning no more than $1000.00 per week may terminate
        without penalty at any time prior to two weeks before rehearsals
        commence. An Actor earning more than $1,000.00 but not less than
        $2,000.00 per week may terminate without penalty at any time prior to four
        weeks before rehearsals commence. An Actor earning $2,000.00 or more
        per week may terminate without penalty at any time prior to six weeks
        before rehearsals commence.
        (b) The Actor may not give notice of termination within two weeks of the
        fixed first rehearsal date or during the rehearsal period, except with Equity’s
        consent.
        (c) The contract may be terminated by the Producer before the first paid
        public performance by giving written notice to the Actor and paying Actor
        forthwith a sum equal to two-weeks’ contractual salary plus any rehearsal
        salary due.
    (2) Individual Termination After First Paid Public Performance. Either party may
    terminate the contract at any time on or after the date of the first public
    performance by giving the other party two-weeks’ written notice. For Actors
    earning more than $1000.00 per week or more, a rider to the contract may


                                        62
       specify a guaranteed period of employment of up to four weeks. No notice may
       be given by either party to become effective during the guaranteed period. If
       employment continues past the guaranteed period, either party may terminate
       the contract by giving the other party two-weeks’ written notice. If the contract is
       terminated by the Actor, the Actor shall to pay his own fare back to the place of
       engagement.
       (3) Pregnancy and Adoption. A Stage Manager and/or Assistant Stage Manager
       will not be terminated because of pregnancy or adoption during the term of the
       contract. The Stage Manager and/or Assistant Stage Manager shall remain on
       contract without pay or accrual of benefits until he or she is ready to return to
       work. The Stage Manager and/or Assistant Stage Manager must give the
       Producer the same amount of notice of his or her intent to return as the notice
       of termination contained in the replacement Stage Manager’s or Assistant
       Stage Manager’s contract.
   (F) Closing Company.
       (1) The Producer may close the company by posting two weeks written notice,
       provided the Actor receives not less than the minimum employment and/or
       payment guaranteed under the Actor’s contract.
       (2) A company closing notice shall supersede any individual notice then
       outstanding.
   (G) Payment When Actor Is Not Allowed to Work Out Notice. If the Actor is not
   allowed or required to work out any notice properly given under the Actor’s contract,
   the Actor shall be paid immediately upon the giving of notice and he may forthwith
   accept other employment.
   (H) Additional Payments. If individual notice of termination is given by the Producer,
   it agrees to pay the Actor in cash the amount of the cost of transportation of the
   Actor and his baggage back to the place of engagement, whether the Actor returns
   immediately or not. However, if, at the time notice is given, the Producer already
   possesses the requisite tickets, it may give the Actor said tickets in lieu of cash.
   (I) Rights After Giving Notice When Actor Secures New Engagement. Should either
   party give the other notice and should the Actor have or secure a new engagement,
   the Actor shall be permitted to attend rehearsals under the new engagement as
   may be necessary and as do not conflict with the Actor’s performances under the
   Actor’s then existing contract.
   (J) Military Service. If the Actor is called to report for Military Service, the Actor may
   terminate Actor’s contract by giving the Producer as much notice as the
   circumstances will permit, and the Producer agrees to pay the Actor’s transportation
   expense to return home.

59. TOURS.
   (A) When an Actor is signed to one contract by one of the Producer’s for multiple
   engagements of a single continuous production, it is considered a tour. Re-blocking



                                            63
to accommodate a new stage is not considered as essentially affecting the original
direction. In such a tour, all performers must be under Equity contract from first
rehearsal.
   (1) In addition, Producer may tour productions on the WCLO contract to any
   future non-profit venue that the Producer may acquire or manage for the
   duration of this contract.
   (2) If any production is toured to or from a location using a contract or
   agreement other than the WCLO Agreement, Equity shall be consulted and
   determine conditions (without limitation) consistent with that of continuous
   employment in order that Actor’s benefits, salary and work rules shall be
   protected in the transfer to or from the WCLO Agreement. It is the intent of this
   rule to ensure that rates and conditions are not undercut from one Equity
   contract to another and conversely, this rule will not be used to secure rates
   and conditions higher than those already mandated by the contract with the
   higher minimums.
   (3) When first class rights are held by another entity in accordance with the
   definition in Rule 37, “PRE-BROADWAY”/PRODUCTION TRYOUTS, Rule 59,
   TOURS and Rule 60, TRANSFERS, do not apply.
   (4) When tours are planned under this Agreement, the Producer will submit the
   itinerary to Equity prior to signing contracts with Actors. The purpose of this
   provision is to ensure that the tour will not undercut conditions in Theatres
   normally providing higher conditions. In the event that such a venue is included
   in the itinerary, the Producer and Equity will negotiate in good faith, conditions
   for that venue.
   (5) The Actor shall work only at the Producer’s theatre unless otherwise
   specified in his contract.
   (6) The Producer agrees to indicate, on the face of the contract or in a rider the
   dates of an overnight tour, if known.
   (7) In no event may the total number of hours of employment of an Actor on a
   day of a tour (including but not limited to any rehearsals, rest periods,
   performances, and transportation to and from the place of performance) exceed
   10 consecutive hours. The requirements of Rule 42, REHEARSAL,
   PERFORMANCE, AND OTHER WORK RELATED RULES, shall still apply.
   (8) A Second Assistant Stage Manager must be employed on any production
   that tours. [See Rule 55(B)(2) STAGE MANAGERS AND ASSISTANT STAGE
   MANAGERS.]
   (9) A Full Swing of each gender must be employed on any production that tours
   (not applicable to transfers). [See Rule 48(F)(1) SALARIES, Full Swings.]
(B) Housing.
   (1) Whenever the company performs away from the Theatre on a tour on the
   same contract, the Producer shall be responsible for securing hotel
   reservations. Actors will be offered a choice of suitable single occupancy rooms


                                      64
    in accordance with Rule 26(A)(1), HOUSING, two weeks prior to the
    performance. Within one week thereafter the Actor shall indicate the Actor’s
    acceptance, or the Actor’s preference to arrange for the Actor’s own
    accommodations. Unless the Actor notifies the Producer of the Actor’s
    acceptance of such accommodations, the Producer shall be relieved of further
    responsibility. If the Actor has complied with this requirement and does not
    receive accommodations upon arrival, the Actor shall not be required to
    rehearse or perform until such accommodations are forthcoming. However,
    should circumstances beyond the Producer's control (such as a hotel confirming
    a reservation and its not being available on the arrival of the Actor) make it
    impossible for the Producer to provide such accommodations, the Actor shall
    not avail himself of this right. If the Actor refuses to accept accommodations
    that the Actor has requested and obtained through the Producer, the Actor shall
    pay for one night's accommodation.
    (2) Except where the Actor elects to arrange for the Actor’s own
    accommodations, when the hotel room cost (including applicable taxes but
    excluding all other hotel charges) for an Actor exceeds 50% of the required per
    diem as provided in Rule 48(C)(2), SALARIES, then the Producer shall
    reimburse that Actor for the excess over said 50%.
    (3) Responsibility for hotel accommodations shall include accommodations in
    the same hotel for the entire cast regardless of race, color, creed, sex, national
    origin, disability, or sexual orientation. Accommodations shall be clean and
    sanitary and accessible for Actors with disabilities, should they be engaged, and
    within a reasonable distance of the theatre. [See (C)(3)(i)(2) below.]
(C) Transportation.
    (1) Air Travel. [See Rule 61(F), TRANSPORTATION TO AND FROM
    ENGAGEMENT.]
    (2) Rail Travel. [See Rule 61(G), TRANSPORTATION TO AND FROM
    ENGAGEMENT.]
    (3) Bus Transportation. All bus travel shall be made under the following rules:
        (a) Routing. The Producer shall submit to Equity a detailed routing of any
        proposed bus tour based on the following schedule of maximum hours per
        each day of travel:
        Double-Performance Days 3 hours
        Single-Performance Days      6 hours
        Non-Performance Days         8 hours
        (b) The Producer shall submit to Equity and the Deputies of the company a
        route sheet (on a form provided by Equity) which shall contain places of
        performance, mileage between cities, estimated hours of travel and a
        performance schedule. The route sheet and performance schedule shall be
        submitted prior to the commencement of the tour. Subsequent route sheets
        and performance schedules shall be submitted to Equity and the Deputies


                                       65
as bookings are arranged. Performance schedules must be provided at
least two weeks prior to the performance and shall include dates, times and
places. A representative of the Producer shall travel with the company on
the bus at all times.
(c) Comfort and Safety. The Producer agrees that the bus shall be equal in
comfort, condition and safety to those used by first-class long distance bus
companies and that it shall be equipped with heat, air conditioning,
separate luggage quarters, a lavatory facility and seating accommodations
for each member. The Producer shall instruct the driver to obey all traffic
regulations and speed and safety rules of City or State.
(d) Travel time shall commence and be computed from the time the bus is
scheduled to leave. The Actor shall be prompt for all bus calls and shall
make his baggage available for loading at least 15 minutes prior to the
scheduled departure time. If an Actor is responsible for a delay at any time,
such delay shall not be counted as part of the travel time of the company.
The Producer may, for the convenience of the company, schedule a second
pickup, in which event travel time shall commence from the scheduled
departure from the second pickup. Computation of travel time shall end
upon arrival of the bus at the first hotel at which the Actors are residing.
(e) Overtime Travel. If the applicable travel time set forth in paragraph (3)(a)
above is exceeded, the Producer shall pay each Actor involved the sum of
$30.00 for each hour or part thereof of overtime travel, up to two hours of
overtime. If travel overtime exceeds two hours, the overtime payment shall
be doubled. Payment of any overtime due shall be included with the salary
payment of the week following the week during which the overtime travel
has occurred, and shall be identified as travel overtime.
(f) Travel time shall not include time lost due to accidents on the road or
other unforeseeable conditions, or time lost by inspections by State Officials
while crossing state borders or going through Customs at International
Borders. Should there be more than three breakdowns in a one-month
period, Equity shall have the right to require the Producer to furnish a
different bus.
(g) There shall be a minimum of one ten-minute comfort stop during each
two hours of travel. The first ten minutes of such comfort stops shall be
deemed part of the travel time. Times beyond the first ten minutes, if any,
shall not be deemed part of the travel time.
(h) Within the first four-hour travel period, there shall be no less than a one-
hour stop for a meal. After this first stop, meal stops shall occur at intervals
not to exceed five hours. If, however, the trip does not commence until after
12:00 noon, the first meal stop need not occur for five hours. The actual
time utilized for such meal stops shall not be considered part of the travel
time.
(i) Bus Upon Arrival.



                                66
    (1) The bus, upon arriving at its destination, will first deliver the Actors
    to their hotels.
    (2) In every case where the theatre is situated more than 1/4th mile from
    the hotel, the bus will transport the Actor to the theatre and return to the
    hotel after the performance. The bus shall leave the theatre when all
    Actors are ready to be transported to the hotels. The time of the bus
    departure should not be later than 30 minutes after the final curtain.
    Should the Producer delay the departure of the bus from the theatre
    beyond 30 minutes, the time of arrival at the hotel shall mark the
    beginning of the time for the required rest period.
(j) There shall be an interval of at least 12 hours between the arrival at the
hotel and the bus call for the next day's travel, except that on two days a
week this interval may be reduced to 10 hours. In the case of consecutive
days being completely devoted to travel with no performance, there shall be
an interval of at least 12 hours between the termination of one day's bus
journey and the beginning of the following day's bus journey.
    (1) Travel time from the theatre to the last hotel, including the 30-minute
    bus departure interval referred to in (i)(2) above, shall not exceed one
    hour.
    (2) The Company may, by a 2/3rds vote in a secret ballot, elect to alter
    the official tour schedule and travel by night to the next engagement or
    return to the Theatre without obligating the Producer to overtime
    payment.
(k) Night travel shall be deemed to be travel between the hours of 10:00
P.M. and 6:00 A.M. and shall only be by railroad Pullman sleeper
accommodations except by written permission of Equity. [See Rule 61(G),
TRANSPORTATION TO AND FROM ENGAGEMENT.] A request for a
waiver of this clause may be by letter, telegram or telephone, and after
consultation with the company. The confirmation from Equity, if granted,
must be in writing.
(l) The Producer agrees that there will be one day off in each workweek
free of all performances and rehearsals, after opening.
(m) Travel and rehearsal combined will not exceed nine hours, but in no
event will rehearsal on a travel day exceed five-out-of-six-and-one-half
hours. No less than 12-hours’ notice will be given for such rehearsal except
in an emergency.
(n) The company shall not be required to rehearse until three hours after
arrival at hotel, except in the case of replacements. When transportation is
directly to the Actor's hotel and travel time does not exceed three hours
from point of departure, two hours shall comprise the aforesaid rest period.
[See Rule 42(D)(10) REHEARSAL, PERFORMANCE AND OTHER
RELATED WORK RULES.]



                                67
           (o) Sound check call will be permitted one hour prior to half-hour on the day
           following the day off when that is the first performance in a new theatre.
           (p) There shall be at least one-and-one-half hours between the end of a
           previous performance (or arrival in town) and half-hour, which can be
           reduced to one hour by the Deputy Committee. If the end of a previous
           performance (or arrival in town) is less than one-and-one-half hours prior to
           half-hour, the Producer shall provide a meal at the theatre. The break
           between performances specified in this section shall not apply to school
           performances of one-and-one-half hours or less duration.
           (q) An evening performance on a day on which there is a performance
           beginning prior to 2:00 P.M. shall be permitted provided there was an
           interval of at least 12 hours between the final curtain the previous day and
           the first call on the day of the early performance.
       (4) Bus Touring Company Rider. A rider shall be attached to all contracts for
       tours which use buses as the primary means of transportation.

60. TRANSFERS.
   (A) When an Actor is signed for a single continuous production among any of the
   Signatory Theatres, either on separate contracts or on one contract, it is considered
   a Transfer. Employment during a Transfer must be continuous. A Transfer must be
   acknowledged by means of a rider to each Actor’s contract. It is agreed that only
   when Producers involved are Signatory Theatres, the Producers may transfer
   Equity Member Candidates provided that said Member Candidates constitute no
   more than 25% of the total company.
   (B) Housing. Whenever a company transfers from one signatory WCLO Theatre to
   another, under separate contracts or on one contract as provided for herein, each
   Producer will provide accommodations as provided for in Rule 26(A)(1), HOUSING,
   and the per diem required in Rule 48(C), SALARIES, will not be paid.
   (C) Rehearsal Period. In the case of a transfer between signatories, the Producer
   may elect one of the following options:
       (1) If two weeks of rehearsal are used, four “10-out-of-12” rehearsal-hour days
       will be allowed and salaries will be the minimum rehearsal salaries.
       (2) If only one week of rehearsal is used (not to exceed a maximum of 37
       hours) and a maximum of two “10-out-of-12” rehearsal hour days are used in
       that calendar week, Actor shall be paid no less than 125% of WCLO minimum
       salary for that week only.
       (3) If only one week of rehearsal is used (not to exceed a maximum of 37
       hours) and more than two “10-out-of-12” rehearsal hour days are used in that
       calendar week, Actor shall be paid no less than 150% of WCLO minimum salary
       for that week only.




                                          68
  (D) In the case of a transfer, there must be no less than a 12-hour rest period
  between the end of the last employment day of the initial contract or venue and the
  beginning Actor call for the new contract or venue.

61. TRANSPORTATION TO AND FROM ENGAGEMENT.
  (A) The Actor’s applicable address will be the Actor’s address listed with Equity.
  (B) The Producer at its own expense shall transport the Actor whenever the Actor is
  required to travel. Any Actor employed originally from a point outside of the area in
  which the Theatre is located shall be provided return transportation to the same
  place at the termination of employment with the company whenever that occurs.
  (C) The Actor shall travel by such routes as the Producer may direct, except as
  otherwise agreed in writing between the Actor and the Producer. In no event shall
  any agreement provide for a payment to the Actor of a sum less than the cost of
  applicable public transportation from the place of engagement, which may be
  designated in the contract, to the theatre and return, or between theatres as
  provided in (E)(4) below.
  (D) Unless the Producer specifies the manner and route of transportation, the Actor
  may choose his own mode of transportation and shall be reimbursed in an amount
  not more than the fare paid by the Actor, including transportation of the Actor to the
  theatre, or his lodgings in the community of the Theatre’s location.
  (E) Tickets.
      (1) The Producer shall furnish the Actor with the necessary transportation
      tickets or their cash equivalent. If an Actor loses a plane ticket or transportation
      voucher provided by the Producer through the Actor’s negligence, the Actor is
      responsible for the cost of a replacement ticket or voucher.
      (2) All transportation tickets or their cash equivalent from the place of
      engagement to the Theatre shall be delivered to the Actor at least one day in
      advance of departure. The Producer, upon request of the Actor, shall deliver to
      him his return transportation at least one day before the close of the Actor's
      engagement.
      (3) If, in an emergency, it should become impossible for the Producer to comply
      with the above conditions, the Producer shall reimburse the Actor in an amount
      equal to the actual sum spent by the Actor for transportation. In no instance
      may the Producer take advantage of reduced round-trip fares unless tickets or
      their cash equivalent are delivered to the Actor one-day in advance.




                                          69
    (4) Where the Actor has been playing in a previous consecutive engagement,
    all tickets or their cash equivalent covering transportation from one theatre to
    another shall be furnished by the Producer at which the Actor has his next
    engagement at least one day prior to his leaving for said engagement. Should
    the Producer fail to send these tickets or monies, the Producer of the theatre at
    which the Actor is currently engaged may furnish the Actor with the full cost of
    transportation to his next engagement, or it shall provide the Actor with return
    transportation to the place of engagement.
    The Producer of the theatre at which the Actor is last employed shall be
    responsible for returning the Actor to the first point of engagement (residence).
(F) Air Travel.
    (1) Air travel must be by FAA certified scheduled airlines, and not by non-
    scheduled or private airlines.
    (2) Travel between the hours of 8:00 A.M. and 8:00 P.M., which is of less than
    five scheduled hours duration and where meals are provided at the Producer's
    expense, may be on scheduled tourist or coach flights on FAA certified airlines.
    Should there be no scheduled flights between 8:00 A.M. and 8:00 P.M., travel
    may be between the hours of 7:00 A.M. and 10:00 P.M. In addition, tourist or
    coach travel shall be permitted on non-stop jet flights from coast to coast
    provided such travel does not exceed six scheduled hours. Where no non-stop
    flights are scheduled from coast to coast, direct flights may be utilized, in which
    case, travel shall not exceed eight scheduled hours. Air travel under any other
    circumstances shall be First Class. Whenever times are referenced above,
    hours are figured based on the originating time zone.
    (3) The Producer shall inform the Actor as to whether it provides air travel
    insurance. If the Producer provides such insurance, but fails to notify the Actor
    by rider, the Actor who purchases air travel insurance shall be reimbursed,
    upon proof of purchase, for the premium cost of such air travel insurance up to
    the amount of $100,000.00.
    (4) If delay en route in air travel occurs, all expenses usually paid or furnished
    the traveler under first-class travel, and not paid to the Actor by the airlines,
    shall be reimbursed, upon proof of expense, to the Actor by the Producer.
(G) Rail Transportation. If, in the Producer's sole determination, air transportation is
unfeasible or not economical, the Actor may be required to travel by railroad. Day
coach transportation is limited to 10 hours daily. Such travel shall not begin prior to
8:00 AM. After 10:00 P.M., transportation shall include individual Pullman sleeping
accommodations, which shall be no less than a roomette, if same is available. [See
Rule 59(C)(3)(k), TOURS.]
(H) Bus Transportation. With the Actor's consent, bus travel shall be by public
carrier duly licensed to carry passengers by intrastate or interstate commission
(regularly scheduled). Such travel shall be between the hours of 8:00 A.M. and 8:00
P.M. and shall not exceed ten hours. Buses shall be air-conditioned and provide for
the maximum comfort of the Actor.


                                        70
   (I) Automobile Transportation. In the event the Actor uses his own car or rides with
   another Actor in lieu of other transportation at the beginning and end of his
   engagement, he shall receive a sum equivalent to the cost of applicable public
   transportation in cash. If the company closes away from the Theatre, the Producer
   shall at the Actor's option and if the Actor has a bona fide reason, return him to the
   Theatre prior to returning him to his place of residence.
   (J) Baggage. [See Rule 6, BAGGAGE.]

62. UNDERSTUDIES.
   (A) Producer will use best efforts to assign understudies to cover every Actor under
   Principal contract as of the first day of rehearsal.
   (B) In the case of a Tour, understudies will be required for all productions.
   Understudies under an Equity contract must be hired no later than the first day of
   rehearsal.
   (C) In the case of a Transfer, all roles, which are played by Actors under an Equity
   contract, must be understudied. [See Rule 60, TRANSFERS.] Understudies under
   an Equity contract must be hired no later than the first day of rehearsal.
   (D) Understudies shall receive an additional 1/8th of their own contractual salary for
   each performance given when substituting for a Principal Actor.
   (E) All understudy assignments shall be shown on the face of the contract or by
   rider and the Actor shall be paid not less than $40.00 per week for each such role
   from the date of assignment or the first rehearsal, whichever is applicable.
   (F) If the understudy has had the part less than one week, he shall not be required
   to perform but may read it unless the understudy is also performing in the
   production, in which case he must have the part at least two weeks before he can
   be required to perform it. In any case, if the understudy has not been rehearsed in
   the role, he may not be required to perform it but may read it.
   (G) If in an emergency an Actor goes on as an understudy in a principal role not
   specified in the Actor’s contract, the Actor will be compensated for such
   performance at not less than 2/8ths of the Actor’s own contractual salary and shall
   thereafter be contracted and be compensated for such understudy duty at no less
   than 1/8th of minimum salary.
   (H) Except in tours, non-professional understudies shall be permitted at the Theatre.
   If a Principal Actor is being understudied by a non-professional, the non-
   professional may perform in his understudy role for a period of not more than two
   weeks. Thereafter, the role must be filled by an Actor under an Equity contract
   without prejudice to the original Actor if his contract has not been terminated.

63. UNION EMBLEM.
   The Producer agrees to display the Equity emblem (logo) in the lobby of the theatre
   next to the seating chart. In the event that a seating chart is not posted, the emblem
   will be displayed in a conspicuous place near the Box Office. The Equity emblem


                                          71
   shall be supplied by Equity and shall remain the property of Equity and shall be
   returned to Equity upon demand.

64. UNION SECURITY/DUES and FEES.
   (A) All Actors, except non-professionals as provided in Rule 33, NO STRIKE OR
   LOCK-OUT, of this Agreement, who are members of Actors' Equity Association, as
   a condition of employment, shall continue to be members of the Union in good
   standing for the life of this Agreement. All employees who are not now members of
   Equity, as a condition of employment, shall become members within 31 days
   following the signing of this Agreement and shall thereafter remain members of the
   Union in good standing as a condition of continued employment. All new
   employees, as a condition of employment, shall become members of the Union 31
   days from the date of the commencement of their employment and thereafter shall
   continue to be members of the Union in good standing as a condition of continued
   employment, to the extent permissible by law. As defined and applied in this rule,
   the phrase “member of the Union in good standing” means a member who pays
   initiation fees and dues, or the monetary equivalent thereof, to the union as financial
   obligations in accordance with the requirements of the National Labor Relations Act.
   (B) Equity shall provide the Producer two-weeks’ written notice to discharge any
   Actor covered by this Agreement for non-payment of Union dues or initiation fee.
   Upon the Actor's failure to make such payment(s) within the aforesaid period, the
   Producer agrees immediately to discharge the Actor, provided however, that Equity
   shall withhold its demand for discharge if the Producer undertakes, with the consent
   of the Actor, to withhold from the Actor's salary a sum or sums sufficient to correct
   the Actor's dues or initiation fee delinquency.
   (C) DUES and FEES.
       (1) The Producer shall deduct from the weekly salary of every employee who is,
       or may become, a member of Equity, as provided for in this Agreement,
       initiation fees and union dues, provided that the Producer receives from Equity
       a proper authorization, agreed to and signed by the employee.
       (2) Any monies so deducted shall be held in trust by the Producer for the benefit
       of Equity and delivered to Equity no later than 30 days following the date on
       which the deductions were made.
       (3) Should the Producer fail to deliver to Equity any and all monies so deducted
       within 30 days following the date on which the deductions were made, Equity
       shall assess a penalty of $50.00 for each week of failure to deliver the monies
       so deducted.

65. VACATIONS.
   (A) Eligibility and Computation. If an Actor is engaged for 12 weeks on a single
   contract, he shall accrue one day of vacation for each four weeks of employment.
   One day of vacation pay shall be calculated as 1/6th of weekly minimum salary. For



                                           72
   the purpose of this rule, a week is a Monday through Sunday period in which the
   Actor is employed for a period of three or more days.
   (B) Notice of Vacation. The Actor shall give the Producer five weeks written notice of
   the date of his intended vacation, which date shall be approved or not approved in
   writing by the Producer within one week of receipt of said notice.
   (C) Termination. When the Actor's contract terminates, he shall receive all vacation
   pay that has accrued and not been previously paid to him. Said vacation pay shall
   be included in the final salary payment made to the Actor at the conclusion of his
   employment.

66. VOLUNTARY CLASSES.
   All Actors are prohibited from attending so-called voluntary classes, and the
   Producer agrees not to request Actors to attend such classes.




                                          73
                                                                           INDEX


                                                                                 Audition Records 5(G)........................................ 7
                                   1                                             Auditions And Interviews 5 ................................. 3
10-out-of-12 Rehearsal Hours 42(B)(6) ............34                             Auditions, Actors with Disabilities 5(A)(2)-(4) ..... 4
10-out-of-12s for Transfers 60(C) .....................68                        Auditions, Cast Breakdown of New Musicals
10-out-of-12s SM/ASM Housing 55(E)(18) .......55                                   5(H)(5) ........................................................... 8
12-Hour Rest Period 42(D)(5)...........................38                        Auditions, Casting Authority 5(B)(3)(b)............... 4
                                                                                 Auditions, Equity Chorus 5(B)(4) ........................ 5
                                   4                                             Auditions, Equity Principals 5(B)(3) .................... 4
                                                                                 Auditions, Equity Procedures 5(B)...................... 4
401(k) Plan 35(B) .............................................28                Auditions, Exceeding 8 Hours 5(B)(4)(f)............. 5
4-A's 1(B)............................................................1          Auditions, Insurance 5(H)(3)............................... 8
                                                                                 Auditions, More than 3 for Chorus 5(B)(4)(b) ..... 5
                                   9
                                                                                 Auditions, More than 3 for Principals 5(B)(3)(c).. 4
9th Performance Increment 42(B)(4) .................36                           Auditions, No Smoking 5(H)(1)(f) ....................... 8
                                                                                 Auditions, Performers with Disabilities 5(F) ........ 7
                                  A                                              Auditions, Pianist 5(H)(4).................................... 8
Actor Definition 17(A)........................................17                 Auditions, Safe and Sanitary Provisions 5(H)(1) 7
Actor Performing on Holidays 42(D)(9).............39                             Auditions, Separate Changing Rooms 5(H)(1)(b)7
Actor Secures New Engagement 58(I) .............63                               Auto Transport Reimbursement, 61(I) .............. 71
Actor's Bio 39(D)...............................................31
Actor's Obligation To Equity 1.............................1                                                         B
Actor's Photo With Commercial Product                                            Baggage 6.......................................................... 9
   42(C)(10)......................................................37             Beards 12(I) ..................................................... 14
Actors with Disabilities 5(F) ................................7                  Bereavement Leave 52(A)................................ 49
Actual Salary 48(K)...........................................47                 Billing 7............................................................... 9
Added Performances 42(B)(4)..........................36                          Billing in Programs 39 ...................................... 31
Additional Duties 48(L) .....................................47                  Billing, Actor's Bio 39(D)................................... 31
Additional Payments 58(H) ...............................63                      Billing, Breach 7(C) .......................................... 10
Agents 2 .............................................................2          Billing, Changes in Cast 39(G) ......................... 32
Agents Acting as Casting Consultants or                                          Billing, Failure to Correct Actor's Bio 39(D)(3).. 31
   Packagers 2(C) ..............................................2                Billing, House Boards 7(A) ................................. 9
Agents, Chorus Commissions Prohibited 2(D)....2                                  Billing, When Actor Leaves Cast 7(B) ................ 9
Agents, Commissions 2(B) .................................2                      Binding Effect Of Agreement 8......................... 10
Agents, Equity Franchise Required 2(A).............2                             Bio, ................................................................... 31
Aisles 47(G)......................................................43             Bio, Equity 39(E) .............................................. 32
Aisles Ramped 47(D)........................................42                    Blacklisting 9 .................................................... 10
Aliens 3...............................................................2         Breaches by Producer 10................................. 11
Arbitration 4 ........................................................2          Break Between Performances 42(D)(6) ........... 38
ASM Pre-Production 55(B)(3)...........................52                         Breaks, Rest Periods, Days Off 42(D).............. 37
ASM Required 55(B)(2) ....................................52
Ass’t Dance Captain Increment 15(D) ..............17                                                                 C
Assistant Dance Captain, Need for 37(F) .........29                              Cast Album 57(F) ............................................. 59
Assistant Stage Managers 55(B) ......................52                          Change of Hair Color 12(G).............................. 14
Audition Break After 5 hrs 5(B)(4)(g) ..................6


                                                                            75
Change of Hair Style 12(H)...............................14                   Definition, Extras 23 ......................................... 21
Changing Assigned Role 14(F)(1) ....................15                        Definition, Gender 17(I) .................................... 18
Child Actors (Juvenile Actors) 28......................24                     Definition, Local Jobber 31(D) .......................... 26
Chorus Definition 17(C) ....................................18                Definition, Out-of-Town Actor 26(A)(2) ............. 22
Chorus Increments 48(D) .................................45                   Definition, Part 17(G)........................................ 18
Claims 11..........................................................11         Definition, Principal Actor 17(B)........................ 17
Claims, Time Limit in Lodging 11(B) .................12                       Definition, Producer 17(F) ................................ 18
Claims, Waiver/Release Not Permissible 11(A) 11                               Definition, Role 17(H) ....................................... 18
Closed Circuit TV 57(J).....................................60                Definition, Stage Manager and ASM 17(D) ...... 18
Clothing And Costumes 12 ...............................12                    Definitions 17.................................................... 17
Clothing Cleaning 12(F)....................................14                 Deputies and Representatives 21(E)................ 21
Clothing Rental 12(E) .......................................13               Determination of Classification 14(C) ............... 15
Commercials for TV and Radio 57(E) ...............58                          Dialect Coach Increment 48(G) ........................ 46
Contingent Compensation 48(J) .......................47                       Disability Leave 18 ........................................... 18
Continuous Employment 13..............................14                      Discrimination For Union Activity 19................. 19
Contract 14 .......................................................15         Dressing Rooms 47(A) ..................................... 41
Contract Concessions 14(F)(3).........................16                      Drinking Water 47(L) ........................................ 43
Contract, Changes and Alterations 14(E) .........15                           Dues and Fees 64(C) ....................................... 72
Contract, Determination of Classification 14(C) 15                            Dues and Fees, Failure to Deliver 64(C)(3)...... 72
Contract, Filing 14(B)........................................15              Duration of Agreement ..................................... 74
Contract, Signing Of 14(D) ...............................15                  Duties Of The Actor 20..................................... 19
Contracts, Attempted Breach 14(I) ...................16
Contracts, Completing 14(F).............................15                                                      E
Contracts, Failure to File 14(H).........................16                   EEO Equal Employment Opportunity 5(C) ......... 6
Contracts, Quadruplicate 14(G)........................16                      EMC 31(C) ....................................................... 25
Contracts, Required Number 14(A) ..................15                         Equity - Special Provisions 21 .......................... 20
Cost of Living Adjustment 48(B) .......................45                     Equity Bio 39(E) ............................................... 32
Costume Calls, Photos & Publicity 42(C)..........36                           Equity Business at Rehearsal 42(A)(13)........... 35
Costumes Cleaning 12(F).................................14                    Equity Logo 42(C)(11) ...................................... 37
Costumes Rental 12(E) ....................................13                  Equity Logo 63 ................................................. 71
Cots 47(I)..........................................................43        Equity Membership Candidate 31(C) ............... 25
Council Powers 21(D).......................................21                 Exclusive Service Of The Actor 22 ................... 21
                                                                              Extras 23 .......................................................... 21
                                 D
Dance Captain 15.............................................16                                                 F
Dance Captain Increment 15 ............................16                     Facial Masks 12(I) ............................................ 14
Dance Captain Rehearsal Hours After Opening                                   Fight/Stunt Captain Increment 48(E) ................ 46
  15(A) ............................................................17        Fight/Stunt Captain Increment 54(B) ................ 51
Dance Shoes 12(B)(2) ......................................12                 Fight/Stunt Rehearsals 54(C) ........................... 51
Dancing Surfaces 47(H) ...................................43                  Fight/Stunt Rehearsals for Understudies and
Day Off 42(D)(7) ...............................................38               Replacements 54(G).................................... 51
Day Off, Change In 42(D)(8).............................38                    Fire Safety Procedures 47(O)........................... 44
Day Off, Invasion of 42(D)(7)(a)&(b).................38                       Firearms 54(H) ................................................. 51
Daylight Day of Rest 42(D)(7)(b) ......................38                     First Aid Kits 47(J) ............................................ 43
Defaulting Employers 16...................................17                  Footwear 12(B)................................................. 12
Definition, Actor 17(A).......................................17              Forms 24 .......................................................... 21
Definition, Chorus 17(C) ...................................18


                                                                         76
Full Swing Increment 48(F)(1) ..........................46                                                        J

                                  G                                             Just Cause 58(D) ............................................. 62
                                                                                Juvenile Actors 28 ............................................ 24
Gender Definition 17(I) .....................................18
Guide Lights 47(F)............................................43                                                  K
                                                                                Kneepads and Protective Clothing 12(C) ......... 13
                                  H
Hairpieces 12(I) ................................................14                                               L
Health Fund 25 .................................................22              Lavatory and Toilet Facilities 47(B) .................. 42
Holiday Pay 42(D)(9) ........................................39                 Laws Governing 29 .......................................... 25
Housing 26 .......................................................22            Local Jobber Definition 31(D) ........................... 26
Housing for Tours 59(B) ...................................64                   Local Transportation 26(D)............................... 23
Housing for Transfers 60(B) .............................68
                                                                                                                  M
                                   I
                                                                                Make-up 12(D) ................................................. 13
Increment, 9th Performance 42(B)(4) ................36                          Matinee 42(B)(4) .............................................. 36
Increment, Ass’t Dance Captain 15(D) .............17                            Matinee Prior to 12 Noon 42(B)(6) ................... 36
Increment, Chorus Playing a Part 48(D)(1).......46                              Medical Services 47(N) .................................... 44
Increment, Chorus Understudying a Principal                                     Meetings; Privilege of Actors to Attend 21(B) ... 20
   48(D)(2)(a) ...................................................46            Membership Candidate 31(C) .......................... 25
Increment, Chorus Understudying Chorus                                          Mileage Reimbursement 26(B)......................... 23
   48(D)(2)(a) ...................................................46            Military Service 58(J)........................................ 63
Increment, Dance Captain 15 ...........................16
Increment, Dialect Coach 48(G) .......................46                                                          N
Increment, Emergency US 62(G) .....................71
Increment, Fight/Stunt Captain 48(E) ...............46                          No Strike Or Lock-Out 33 ................................. 27
Increment, Fight/Stunt Captain 54(B) ...............51                          Non-Discrimination 30 ...................................... 25
Increment, Full Swing 48(F)(1) .........................46                      Non-Discrimination 5(D) ..................................... 6
Increment, Partial Swing 48(F)(2).....................46                        Non-Pro Affidavits 31(B)................................... 25
Increment, Risk 46............................................41                Non-Pro Partnering 31(G)(3)............................ 26
Increment, Set Moves 51..................................49                     Non-Pro Understudies 62(H) ............................ 71
Increment, Tech Week Bump-Up 55(E)(15) .....54                                  Non-Professionals 31 ....................................... 25
Increment, Understudy 62(E)............................71                       Non-Traditional Casting 32............................... 27
Increment, Understudy goes on for Principal                                     Non-Traditional Casting 5(E) .............................. 6
   62(D) ............................................................71         Note sessions 42(E) ......................................... 39
Index.................................................................75        Nudity 34 .......................................................... 28
Individual Termination After First Paid Public
   Performance 58(E)(2)...................................62                                                      O
Injury And Supplemental Workers’ Comp 27 ....24                                 Oral and Written Interpretations 21(C) ............. 20
Inspection and Compliance 47(S).....................44                          Out-of-Town Actor Defined 26(A)(2)................. 22
Insurance, SWC (Supplemental WC) 27(B)......24                                  Overnight Tours 14(F)(4)) ................................ 16
Insurance, Workers’ Comp 27(A) .....................24                          Overnight Tours 59(A)(6) ................................. 64
Intercom System 47(K).....................................43                    Overtime 48(H)................................................. 46
Internet Sites 57(C) ..........................................57               Overtime Travel 59(C)(3)(e) ............................. 66
Internet Websites 57(K) ....................................60                  Overtime, Stage Manager 55(E)(17) ................ 55
Itemized Deductions 48(M)...............................47


                                                                           77
                                   P                                             Replacement Of The Actor 44.......................... 39
Parental Leave 52(E)........................................49                   Reports 45........................................................ 40
Parking 47(R) ...................................................44              Reports to Equity 45(C).................................... 40
Part Definition 17(G).........................................18                 Reports, Failure to File 54(C)(2)....................... 40
Partial Swing Increment 48(F)(2)......................46                         Repro for Broadcast by a Non-Profit Educational
Payment When Actor Is Not Allowed to Work Out                                       Broadcast Station 57(B)............................... 56
   Notice 58(G).................................................63               Repro for News and Community Affairs
Pension 35........................................................28                Broadcasts and Media Internet Sites 57(C) . 57
Per Diem 26(G) ................................................24                Repro for Non-Broadcast 57(D)........................ 58
Per Diem 48(C).................................................45                Rest Periods 42(D)........................................... 37
Performance Changed to Rehearsal 42(B)(5) ..36                                   Rider, Additional Duties 48(L)........................... 47
Performance Lost 36 ........................................28                   Rider, Air Travel Insurance 61(F)(3)................. 70
Performance Prior to 12 Noon 42(B)(6) ............36                             Rider, Alternating Role 39(G)(7)(b) .................. 33
Performances, Number of 42(B)(1) ..................35                            Rider, Alternating Role 44(B)............................ 40
Performances, Schedule Change 42(B)(2).......35                                  Rider, Billing 7(C)(1)......................................... 10
Performers with Disabilities 5(F).........................7                      Rider, Bus Tour 59(C)(4).................................. 68
Photo Credit 42(C)(7) .......................................37                  Rider, Cast Album 57(F)................................... 59
Photo Session at Unusual Time 42(C)(6) .........37                               Rider, Change of Hair Color 12(G) ................... 14
Photo Sessions for Publicity 42(C)(3) ...............36                          Rider, Change of Hair Style 12(H).................... 14
Pregnancy & Adoption Leave 58(E)(3) .............63                              Rider, Changing Assigned Role 14(F)(1).......... 15
Pre-Production 55(C)........................................52                   Rider, Chorus as Understudy 48(D)(2)............. 46
Principal Actor Definition 17(B).........................17                      Rider, Contract 14(D) ....................................... 15
Producer Definition 17(F)..................................18                    Rider, Costumes Rental 12(E).......................... 13
Production Prosecuted 38 ................................30                      Rider, Education/Supervision of Juvenile Actors
Program And Souvenir Program 39..................31                                 28(B) ............................................................ 24
Property Loss/Damage 40 ................................33                       Rider, Guaranteed Period of Employment
Publicity Appearances 42(C)(9)........................37                            58(E)(2)........................................................ 62
                                                                                 Rider, Just Cause Termination 58(D) ............... 62
                                   Q                                             Rider, Nudity 34................................................ 28
                                                                                 Rider, Overnight Tours 59(A)(6) ....................... 64
Quick Reference, Money Items List..................81                            Rider, Performance Schedule 42(B)(1) ............ 35
Quick Reference, Possible Riders List..............82                            Rider, Performances Prior to Noon 42(B)(6) .... 36
                                                                                 Rider, Repro for Broadcast by a Non-Profit
                                   R                                                57(B)(1)........................................................ 56
Raked Stages 47(E) .........................................42                   Rider, Repro for Non-Broadcast 57(D)(1)......... 58
Recordings (Use in Production) 41 ...................34                          Rider, Risk 46................................................... 41
Rehearsal After Opening (Pre-Broadway) 37(B)                                     Rider, Salary Increase 48(K) ............................ 47
  .....................................................................29        Rider, Stage Fighting 54(A) .............................. 51
Rehearsal After Opening 42(A)(11) ..................35                           Rider, Termination 58(E)(2).............................. 62
Rehearsal Hours, 10-out-of-12 42(B)(6) ...........34                             Rider, Tours 14(F)(4)) ...................................... 16
Rehearsal Period for Transfers 60(C)...............68                            Rider, Transfers 60(A)...................................... 68
Rehearsal Space 47(C) ....................................42                     Rider, Travel 61(C)........................................... 69
Rehearsal, Performance, And Other Work                                           Rider, Understudy Assignments 62(E) ............. 71
  Related Rules 42..........................................34                   Rider, Use of Smoke and Haze 47(Q)(2) ......... 44
Rehearsals During Previews 42(A)(10) ............35                              Rider, Vacation 65(B) ....................................... 73
Rental of Actor’s Clothes 12(E) ........................13                       Rider, Websites 57(K)(1).................................. 60
Reopening Of A Play 43 ...................................39                     Risk 46 ............................................................. 41


                                                                            78
Role Definition 17(H) ........................................18             Smoke and Haze Effects 47(Q)(2) ................... 44
                                                                             Smoking Areas 47(P) ....................................... 44
                                 S                                           Social Security, Unemployment Insurance 53 .. 50
Safe And Sanitary Places Of Employment 47 ..41                               Span of Day 42(B)(9) ....................................... 35
Salaries 48........................................................45        Span of Day, 2-Performance Day 42(B)(3)....... 36
Salary Payment and Checks 48(I) ....................47                       Special Power to Act for Actor 21(A) ................ 20
Salary, Actual 48(K)..........................................47             Stage Fighting 54 ............................................. 51
Salary, Additional Duties 48(L) .........................47                  Stage Fighting/Stunts 48(E) ............................. 46
Salary, Ass’t Dance Captain Increment 15(D) ..17                             Stage Manager and ASM Definition 17(D) ....... 18
Salary, Chorus Increments 48(D) .....................45                      Stage Manager Overtime 42(B)(8) ................... 35
Salary, Contingent Compensation 48(J) ...........47                          Stage Manager Overtime 55(E)(17) ................. 55
Salary, Cost of Living Adjustment 48(B) ...........45                        Stage Managers And ASMs (Work Rules) 55 .. 52
Salary, Dance Captain Increment 15 ................16                        Subsidiary Rights 56 ........................................ 55
Salary, Dialect Coach Increment 48(G) ............46                         SWC Supplemental Workers’ Comp 27(B)....... 24
Salary, Emergency US Increment 62(G) ..........71                            Swing and Partial Swing 48(F) ......................... 46
Salary, Fight/Stunt Captain Increment 48(E) ....46
                                                                                                               T
Salary, Fight/Stunt Captain Increment 54(B) ....51
Salary, Full Swing Increment 48(F)(1) ..............46                       Tech Week Bump-Up 55(E)(15) ....................... 54
Salary, Itemized Deductions 48(M)...................47                       Televising, Filming And Recording 57 .............. 56
Salary, Overtime 48(H) .....................................46               Termination 58 ................................................. 61
Salary, Partial Swing Increment 48(F)(2)..........46                         Termination After First Paid Public Performance
Salary, Per Diem 48(C).....................................45                  58(E)(2)........................................................ 62
Salary, Performance Minimums 48(B) ..............45                          Termination, Closing Company 58(F)............... 63
Salary, Rehearsal Minimum 48(A) ....................45                       Termination, Notice of 58(B)............................. 61
Salary, Risk Increment 46.................................41                 Termination, Standard 58(E) ............................ 62
Salary, Set Moves Increment 51.......................49                      Tours 59 ........................................................... 63
Salary, Understudy Assignments 62(E) ............71                          Tours 59(A)(6).................................................. 64
Salary, Understudy Increments 62(D)&(E) .......71                            Tours, 2nd ASM Required 59(A)(8) ................... 64
Schedule Change 42(B)(2) ...............................35                   Toxic Materials 47(Q) ....................................... 44
Secret Vote 49..................................................48           Transfers 60 ..................................................... 68
Security And Security Agreements 50 ..............48                         Transfers, Housing 60(B) ................................. 68
Security, Posting of 50(B) .................................48               Transfers, Rehearsal Period 60(C)................... 68
Security, Return of 50(C) ..................................48               Transfers, Rest Period 60(D)............................ 69
Set Moves 51....................................................49           Transportation for Tours 59(C) ......................... 65
Set Moves Increment 51...................................49                  Transportation of Baggage 6.............................. 9
Sick Leave 52(A) ..............................................49            Transportation To And From Engagement 61 .. 69
Sick Leave, Illness, Bereavement and Parental                                Transportation, Air 61(F) .................................. 70
   Leave 52 ......................................................49         Transportation, Automobile 61(I) ...................... 71
SM Production Script 55(F) ..............................55                  Transportation, Bus 61(H) ................................ 70
SM/ASM Experience Required 55(E)(16) .........54                             Transportation, Rail 61(G)................................ 70
SM/ASM Housing for 10-out-of-12s 55(E)(18)..55                               Transportation, Tickets 61(E) ........................... 69
SM/ASM May Not Act 55(D) .............................52                     Travel 61(C) ..................................................... 69
SM/ASM Pre-Production 55(C).........................52                       Travel Overtime 59(C)(3)(e) ............................. 66
SM/ASM Responsibilities 55(E) ........................53                     TV and Radio Commercials 57(E).................... 58
SM/ASM Tech Week Bump-Up 55(E)(15) ........54
SM/ASM Working Conditions 55(E)..................53
SM/ASM Working on Day Off 55(E)(7) .............53


                                                                        79
                                 U
Understudies 62 ...............................................71
Understudies for Tours 62(B) ...........................71
Understudies for Transfers 62(C) .....................71
Understudies, Non-Pros 62(H) .........................71
Understudy Assignments 62(E) ........................71
Understudy Emergency Increment 62(G) .........71
Understudy Increments 62(D)&(E)....................71
Union Emblem 63 .............................................71
Union Security/Dues and Fees 64 ....................72
Use of Non-Professionals 31(G).......................26

                                  V
Vacation, Accrual Payout 65(C)........................73
Vacation, Eligibility and Computation 65(A)......72
Vacation, Notice of 65(B)..................................73
Vacations 65.....................................................72
Voluntary Classes 66........................................73

                                 W
W-2 Forms 45(A) ..............................................40
Websites, 3rd Party 57(C) .................................57
Websites, 3rd Party 57(K)(2) .............................60
Websites, Non-Profit/Tourism 57(K)(1).............60
Websites, Producers’ 57(K) ..............................60
Wigs 12(I) .........................................................14
Workers’ Comp Insurance 27(A) ......................24
Workweek, Work Day and Rehearsal 42(A) .....34




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Heading and Rule Number                                                         Page No.


                                 QUICK REFERENCE
Money Items:

               Actors’ Photo w/Commercial Product [42(C)(10)(b),(c)]………………..………….. 37
               Added Performances [42(B)(4)]……………………………………………………….. 36
               Additional Duties [48(L)]……………………………………………………………….. 47
               ASM Pre-Production [55(B)(3), (C)]…………………………………………………... 52
               Audition (Break after 5 hours) [5(B)(4)(g)]……………………………………………... 6
               Audition (More than 3 for Chorus) [5(B)(4)(b)]………………………………………… 5
               Audition (More than 3 for Principals) [5(B)(3)(c)]……………………………………… 4
               Auto Transport Reimbursement [61(I)]……………….………………………………. 70
               Baggage [6(D)]………………………………………………………………………........ 9
               Billing, Change in Cast [7(B)(1)], Breach [7(C)(2)]……..………...…………....… 9,10
               Cast Album [57(F)(1)]…………………………..……………………………….…….. 59
               Chorus Increment [48(D)(1), (2)(a),(b)]…………………………………………..…... 45
               Clothing and Costumes, Rental [12(E)]………………………………………………. 13
               Contingent Compensation [48(J)]………………………………………...…………... 47
               Dance Captain [15]……………………………………………………………...……… 16
               Day-Off, Invasion of [42(D)(7)(a),(b)]………….………..……………..…………….. 38
               Dialect Coach [48(G)]…………………………………..……………..………….……. 46
               Failure to Deliver Deducted Dues & Fees [64(C)]…………………………………... 72
               Failure to Correct Actor’s Bio in Program [39(D)(3)]………………………….…….. 33
               Fight/Stunt Captain [48(E), 54(B)]…………………………………………….…… 46,51
               Health Fund [25(A)]…………………………………………………………….…….... 22
               Holiday Pay [42(D)(9)(a),(b),(c)]………………………………………..…………...… 39
               Housing [26]……………………………………………………………………….……. 22
               Internet/Websites [57(C),(K)(2)]……………………………………………..……. 57,60
               Mileage Reimbursement [26(B)]………………………………………………………. 22
               Overtime [48(H)(1),(2), 59(C)(3)(e)]………………………………………………. 46,56
               Pension Fund [35]….………………………………………………………….……….. 28
               Per Diem [26(G), 48(C)(1),(2)]………………………………………………....…. 23,45
               Performance Lost [36(1)]……………………………………………………..….……. 28
               Photo calls [42(C)(3),(6)]……………………………………………………...…… 36,37
               Property (Loss or damage reimbursement) [40]……………………………….……. 33
               Rehearsal After Opening (Pre-Broadway) [37(B)]……………………………….….. 29
               Reports (Failure to file) [45(C)(2)]……………………………………….……………. 40
               Risk [46]………………………………………………………………………………….. 41
               Salaries [48(A),(B)]……………………………………………………….…….………. 45
               Set Moves [51(A)]………………………………………………………….………..…. 49
               SM/ASM Working on Day-Off [55(E)(7)]………………………………………..…… 53
               SM/ASM Tech Week Bump-Up [55(E)(15)]…………………………………………. 54
               SM/ASM Overtime [55(E)(9),(17)]………………………………………………... 55, 57
               SM/ASM Pre-Production [55(C)]………….……………………………….………….. 52
               SM Production Script [55(F)(3)]…………………………………………….………….. 55
               SWC (Supplemental Workers’ Compensation) [27(B)]………………….………….. 24
               Swings [48(F)(1),(2)]………………………………………………………….………… 46
               Televising, Filming, Recording [57(B)(2),(3)]………………………………..……….. 56
               Transfers (Rehearsal period) [60(C)(1),(2),(3)]……………………………….….…. 68
               Transportation To and From Engagement [61(D)]…………………………….…..... 69
               Travel Overtime [59(C)(3)(e)]……………………………………………….…………. 66
               TV and Radio Commercials [57(E)]…………………………………………………… 58
               Understudy Payments [62(D),(E),(G)]………………………………………..………. 71
               Vacation Accrual [65(A)]………………………………………………………….…..... 72



                                              81
Heading and Rule Number                                                            Page No.



Possible Riders:

              Actual Salary [48(K)]…………………………………………………………………… 47
              Additional Duties [48(L)]……………………………………………………………….. 47
              Air Travel Insurance [61(F)(3)]……………………………………………………….... 70
              Alternating Role [44(B)]……….……………………………………………………….. 40
              Billing [7(C)(1)]……..…………………………………………………………..……….. 10
              Bus Tour [59(C)(4)]…..………………………………………………………..……….. 68
              Cast Album [57(F)]……………………………………………………………………... 59
              Changing Assigned Role or Part [14(F)(1)]…...……………………………………… 15
              Clothing and Costume Rental [12(E)]……………………………………………….... 13
              Contract [14(D)]…………………………………………………………………………. 15
              Hair Color/Style [12(G),(H)]…….……………………………………………………… 14
              Juvenile Actors (Supervision/Education) [28(B)]…..……………………………….. 24
              Nudity [34]……………………………………………………………………………….. 28
              Performance Schedule [42(B)(1)]………………………………………………….…. 35
              Performances Prior to Noon [42(B)(6)]…………………………………………...….. 36
              Reproduction For Broadcast by Non-Profit [57(B)(1)]………………………………. 56
              Reproduction For Non-Broadcast [57(D)(1)]…………………………………………. 58
              Risk [46]………………………………………………………………………………….. 41
              Stage Fighting [54(A)]………………………………………………………………….. 51
              Tours [14(F)(4)]…………………………………...…………………………………….. 16
              Tours [59(A)(6)]………………………………..……………………………………….. 64
              Tours [59(C)(4)]……………………………..………………………………………….. 68
              Termination (Individual) After First Paid Public Performance [58(E)(2)]…..……… 62
              Transfers [60(A)]……………………………………………………………………..…. 68
              Travel [61(C)]……………………………………………………………………………. 69
              Understudy Assignments [62(E)]……………………………………………………… 71
              Use of Smoke and Haze Effects [47(Q)(2)]………………………………………..… 44
              Vacation Notice [65(B)]………………………………………………………………… 72
              Websites [57(K)(1)]…………………………………………………………………….. 60




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