A handshake is nice, but always get it in writing.
This fall I was offered the lead in a musical outside New York City, and for the first time I found myself negotiating a contract without an agent. It occurred to me that many of my young and fierce readers might be also be fielding contracts without an agent’s help, and without the experience, or maybe just the presence of mind, to know what to ask for and how to ask for it. And as you embark on your careers, many of you might also be operating without the protection of a union.
By the time I got to this point in my life, where I’m negotiating my own contracts, I have the advantage of years os seeing what’s possible. I also have a family and a commute, as well as a teaching load, to consider, so I don’t actually have the luxury of going with the flow. If I accept a job now, I have to balance my other commitments.
What I’ve found when it comes to negotiating is that things that are a huge deal to me may not be that big of a deal to the powers that be. I’ve found that money can be moved from budgets outside of salary to accommodate an actor. And I’ve found it empowering to ask for what I want, instead of meekly saying yes to what’s offered.
So here’s what to say and how to say it.
1. More money.
Obviously if you’re playing a principal role, you will have more leverage in this category than if you’re ensemble. However, if you’re ensemble and you have a specialty (like you ride the unicycle or something), or if you understudy a lead, use that to your advantage.
What you say: “Is there any wiggle room in the budget?” Since I play the lead/understudy this principal/ride the unicycle, I was wondering if it might be possible to get an increase of X.”
It helps to go in with a specific number that management can bring to the producers. Depending on the particulars of the contract, a 20% increase is reasonable. Don’t be crazy and ask for double; you won’t get it. But if you ask for 20%, and they come back with 10%, congrats! you’ve earned your own agent’s fee.
2. Fees
Assuming you’re working with an agent, you can always ask the producers to cover the agent’s fee. This may be a bit awkward because your agent will have to ask for you…
What you say: “Is there any way they could cover your 10%?”
You may get told that a theatre simply “won’t do that,” and that’s no lie. Since this is such a common ask, a lot of theatres develop a policy towards it. Sometimes that will work in your favor, and sometimes it won’t. But it never hurts to ask, even if you’re ensemble.
3. Days Off
If you want the job, but don’t want to miss your best friend’s wedding, yes, you can ask for days off. I’ve worked at summer theatres where I’ve missed rehearsals for, say, my sister’s wedding, and I’ve even known people to miss shows because of scheduling constraints, even at theatres that don’t regularly employ understudies. If the theatre doesn’t know of your conflict ahead of time, or if it arises before rehearsals begin, ask for the time off! Don’t assume you can’t have a family or social life because of your dedication to this craft. Just anticipate that your attendance at this event might be brief, and that you might be spending more time in transit than at the actual party, depending. And of course you should always tell them about conflicts up front. But if something arises, they can work around you.
4. Transport
Sometimes when a theatre is setting up a contract, they will have a set budget for salary, a certain number of AEA cards and contracts, and a yes/no policy on agent fees. But there could be some grey area in other spending categories, and travel is a big one. Showcase codes in NYC have to provide a travel stipend, for example, to Equity actors. Not in the union? Ask anyway. It can’t hurt. Depending on the specifics of the contract and your role in the show, you could ask for your own car, cab fare to/from the airport, mileage for commuting in your own car, and so on and so forth. I know a Mary Poppins who got the company to pay for her hotel on weekends, despite the fact that the cast was being bussed from the City to the theatre every night. (Disclaimer: I had turned down an audition for that same contract because I was living in Jersey and DIDN’T EVEN THINK OF THAT!)
What to say: “How is transportation handled?” Then, in response: “It would be helpful if I could get X, Y, Z.”
Then be sure to GET IT IN WRITING. Either as a rider or in email form.
5. Comps
Complementary tickets are a relatively simple way to keep actors happy. Most theatres gives out a fair number of comps anyway to press or attractive donors, so comps are an easy ask. Additionally, if you have industry people coming to see you: agents, casting directors, etc, reach out to the theatre and see if they will comp them. Most of the time they will comp industry, so you can use your precious comps on your bestie or your beau. The stingiest producers when it comes to comps, however, are Broadway and national tours. You might get two for opening, and that’s it. Tell your mother now!
So the next time you get offered a fabulous part, don’t be so overwhelmed that you forget to ask for what you want. You’ve earned it!
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Scenery Chewer 
I started this blog as an artistic outlet, as a place to write down the wisdom I’ve accumulated over a lifetime of auditioning in New York City. But these days my time is divided between teaching, performing, and spending quality time with my family.