Editing Actors' Equity Association

{{Short description|American labor union for theater performers}}
{{About|the American labor union|the British equivalent|Equity (British trade union)|the Canadian equivalent|Canadian Actors' Equity Association|the former Australian equivalent|Actors Equity of Australia}}

{{Infobox organization
| name                = Actors' Equity Association
| logo                = Actors' Equity Association Logo.svg
| logo_size           = 125px
| logo_alt            = 
| logo_caption        = 
| abbreviation        = {{hlist | AEA | Actors' Equity | Equity}}
| predecessor         = 
| merged              = <!-- any other organization(s) which it was merged into -->
| successor           = 
| formation           = {{start date and age|1913|05|26}}
| founder             = <!-- or |founders = -->
| founding_location   = 
| dissolved           = <!-- or |defunct = --><!-- use {{end date and age|YYYY|MM|DD}} -->
| merger              = <!-- other organizations (if any) merged with, to constitute the new organization -->
| type                = [[Trade union]]
| tax_id              = <!-- or |vat_id = (for European organizations) -->
| registration_id     = <!-- for non-profits -->
| status              = <!-- legal status or description (company, charity, foundation, etc.) -->
| headquarters        = {{nowrap|[[New York City]], [[New York (state)|New York]], U.S.}}
| location            = United States
| coordinates         = <!-- {{coord|LAT|LON|display=inline,title}} -->
| fields              = <!-- or |field = -->
| membership          = 50,785
| membership_year     = 2021
| leader_title        = President
| leader_name         = [[Brooke Shields]]
| leader_title2       = Executive director
| leader_name2        = Al Vincent Jr
| secessions          = 
| affiliations        = {{hlist | [[AFL–CIO]] | [[Associated Actors and Artistes of America]] | [[International Federation of Actors]]}}
| budget              = 
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| website             = {{official URL}}
| formerly            = <!-- or |former_name = -->
}}
[[File:Actors Equity Building 165 W46 in 2021 jeh.jpg|thumb|Actors Equity Building, near Times Square]]
The '''Actors' Equity Association''' ('''AEA'''), commonly called '''Actors' Equity''' or simply '''Equity''', is an American [[trade union|labor union]] representing those who work in [[Theatre|live theatrical]] performance. Performers appearing in live stage productions without a [[Musical theatre#Definitions|book]] or through-storyline ([[vaudeville]], [[cabaret]]s, [[circus]]es) may be represented by the [[American Guild of Variety Artists]] (AGVA). The AEA works to negotiate quality living conditions, livable wages, and benefits for performers and stage managers.<ref>{{Cite web|url=http://www.actorsequity.org/AboutEquity/aboutequityhome.asp|title=actorsequity.org {{!}} About Actors' Equity Association|website=www.actorsequity.org|access-date=2017-02-08|archive-date=2014-11-18|archive-url=https://web.archive.org/web/20141118140544/http://www.actorsequity.org/AboutEquity/aboutequityhome.asp|url-status=dead}}</ref> A theater or production that is not produced and performed by AEA members may be called "non-Equity".<ref> Gary M. Fink, ed. ''Labor unions'' (Greenwood, 1977) pp. 4–6.</ref>

==Background==
Leading up to the Actors' and Producers' strike of 1929, [[Cinema of the United States|Hollywood]] and California in general had a series of workers' equality battles that directly influenced the film industry. The films ''The Passaic Textile Strike'' (1926), ''The Miners' Strike'' (1928) and ''The Gastonia Textile Strike'' (1929) gave audience and producers insight into the effect and accomplishments of labor unions and striking.<ref name="Steven J. Ross 1999">Steven J. Ross, ''Working-Class Hollywood'' (Princeton University Press, 1999) 221</ref> These films were set apart by being current documentaries, not merely melodramas produced for glamor.

In 1896, the first Actors Union Charter was recognized by the [[American Federation of Labor]] as an attempt to create a [[minimum wage]] for actors being exploited. It was not until January 13, 1913, that the Union Charter failed. It later reemerged as the Actors Equity Association, with more than 111 actors and [[Francis Wilson (actor)|Francis Wilson]] as its founding board president.<ref name="Steven J. Ross 1999"/>

==History==
[[File:Leaders of Actors Equity on Parade During 1919 Strike.jpg|thumb|right|Actors' Equity president [[Francis Wilson (actor)|Francis Wilson]] (right) on parade with other leaders during the 1919 strike seeking recognition of the association as a labor union]]
[[File:DresslerBarrymore1919.jpg|thumb|[[Marie Dressler]], [[Ethel Barrymore]] & others during the 1919 strike.]]
At a meeting held at the Pabst Grand Circle Hotel in New York City, on May 26, 1913, Actors' Equity was founded by 112 professional theater actors, who established its constitution and elected [[Francis Wilson (actor)|Francis Wilson]] as president.<ref name="AEA90">{{cite web
 |url=http://www.actorsequity.org/NewsMedia/misc/celebration/
 |title=Actors' Equity: A 90 Year Celebration
 |access-date=2007-12-18
 |author=Actors' Equity Association
 |url-status=dead
 |archive-url=https://web.archive.org/web/20160304195601/http://www.actorsequity.org/NewsMedia/misc/celebration/
 |archive-date=2016-03-04
}}</ref><ref>{{cite news|author=Stevens-Garmon, Morgen|date=May 21, 1913|url=http://mcnyblog.org/2013/05/21/100-years-of-the-actors-equity-association/ |title=100 years of the Actors' Equity Association|access-date=September 9, 2014}}, blog of the [[Museum of the City of New York]]</ref>

Leading up to the association's establishment, a handful of influential actors—known as The Players—held secret organizational meetings at Edwin Booth's [[The Players (New York City)|The Players]] at its Gramercy Park mansion. A bronze plaque commemorates the room in which The Players met to establish Actors' Equity. Members included [[Frank Gillmore]], who from was the executive secretary of Actors' Equity from 1918 to 1929 and president from 1929 to 1937.<ref>{{Cite web|url=https://www.sagaftra.org/|title=Presidents' Day Office Closure|website=www.sagaftra.org|accessdate=February 25, 2023}}</ref>

Actors' Equity joined the [[American Federation of Labor]] in 1919, and called a [[strike action|strike]] seeking recognition as a labor union.<ref name=AEA90/> The strike ended the dominance of the [[Producing Managers' Association]], including theater owners and producers like [[A. L. Erlanger|Abe Erlanger]] and his partner, [[Marc Klaw|Mark Klaw]]. The strike increased membership from under 3,000 to approximately 14,000. The [[Chorus Equity Association]], which merged with Actors' Equity in 1955, was founded during the strike.<ref>[http://www.actorsequity.org/aboutequity/timeline/timeline_1919.html "Timeline, 1919"] {{webarchive|url=https://web.archive.org/web/20140512223116/http://www.actorsequity.org/aboutequity/timeline/timeline_1919.html |date=2014-05-12 }} actorsequity.org, accessed December 3, 2011</ref>

Equity represented directors and choreographers until 1959, when they broke away and formed [[Stage Directors and Choreographers Society|their own union]].

==1929 nationwide actors and producers strike threat==
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----
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The Actors Equality Strike was a series of walkouts that started in 1927 in local theaters in Los Angeles and quickly grew to the motion picture stage.<ref name="SAG timeline">{{cite web|url=http://www.sagaftra.org/sag-timeline|title=SAG Timeline – SAG-AFTRA|website=www.sagaftra.org}}</ref> During the nationwide walkouts, the Academy of Motion Picture Arts and Sciences started issuing contracts to freelance film actors, which led Hollywood's actors and actresses to fear the loss of their jobs. The theater strikes combined with freelance contracts fueled the need for actors and stagehands to strike for better working conditions and pay.<ref name="SAG timeline"/>

[[Frank Gillmore]], the head and treasurer of the Actor's Equity Association, understood that he would need multiple unions across the country to make a change not only in proper representation and pay, but in actors' ability to negotiate any contract a studio would put out worldwide. On July 20, 1929, the AEA gained its first victory, which gave producers and actors a leg to stand on in their battle for equality. Over 30 days (up to August 20, 1929), Gillmore fought to give the AEA the ability to represent all actors, producers, radio personality, [[vaudeville]] performers, and agents in the country. This would also give all power and representation to one organization in order to create a more organized equality strike.<ref>"Equity's Setback".  ''[[The New York Times]]'' (1923–current file); August 20, 1929; ProQuest Historical Newspapers: The New York Times pg. 21</ref>

Starting on June 5, 1929, Gillmore attended several meetings in New York with the heads of Broadway. After the meeting, he notified the AEA that appearances in sound and talking motion pictures had been suspended until the outcome of the meetings with the international Studio Crafts Union.<ref name="NYT_1929_08_20">"Gillmore To Confer With Union Heads Here: Actors Notified Rules on ...", ''The New York Times'' (1923–current file); August 20, 1929; ProQuest Historical Newspapers: The New York Times pg. 37</ref>

Due to the negotiations and the suspension of contracts through the AEA, studios were desperate for actors to speed up production, which had dropped significantly. ''The New York Times'' wrote, "It was pointed out that while the Equality regulations were in effect, about 2000 motion picture contracts, involving salaries said to amount to $500,000 were offered to actors in New York."<ref name="NYT_1929_08_20"/> Any actor who entered into a contract not approved by the AEA would be banished from the union and have to reapply for admission after negotiations were finished.<ref name="NYT_1929_08_20"/>

By December 1929, the AEA was negotiating terms to reset the movie stage under better conditions, but this was the least of its problems. In late December, groups of theater owners and non-represented producers filed lawsuits to claim damages from the AEA's contract holdout. "The plaintiffs not only seek a temporary injunction against the defendants, pending trial on an order to show cause why a permanent injunction should not be granted, but also ask damages of $100,000."<ref>"Equity Sued By Producers: Louis Macloon and Lillian Albertson Charge ...", ''[[Los Angeles Times]]'' (1923–current File); December 12, 1929</ref>

===Effects of strike===
The AEA allowed small numbers of contracts to be negotiated over the next few years. In 1933, the [[Screen Actors Guild]] was created and took the AEA's place as the main representative for movie actors and producers. This allowed the AEA to focus on live productions, such as theatrical performances, while the Screen Actors Guild focused on movie production and non-scripted live performances, such as minstrel, vaudeville, and live radio shows.<ref>{{cite web|url=http://www.sagaftra.org/history/sag|title=SAG History – SAG-AFTRA|website=www.sagaftra.org}}</ref>

==Causes==
In the 1940s, the AEA stood against [[Racial segregation|segregation]].<ref name=AEA90/><!-- This is unclear. Please state how the Association refused to participate. Not everyone knows what the blacklist mandated. --> When actors were losing jobs through 1950s [[McCarthyism]] and the [[Hollywood blacklist]], the AEA refused to participate. Although its constitution guaranteed its members the right to refuse to work alongside [[communism|Communists]], or a member of a Communist front organization, the AEA did not ban any members. At a 1997 ceremony commemorating the blacklist's 50th anniversary, [[Richard Masur]], then president of the Screen Actors Guild, apologized for its participation in the ban, saying: "Only our sister union, Actors' Equity Association, had the courage to stand behind its members and help them continue their creative lives in the theater. For that, we honor Actors' Equity tonight."<ref name="blacklist50th">Greg Krizman, webpage: [http://www.cobbles.com/simpp_archive/linkbackups/huac_blacklist.htm "Hollywood Remembers the Blacklist"], ''Screen Actor'', January 1998 (special edition).</ref>

In the 1960s, the AEA played a role in gaining public funding for the arts, including the founding of the [[National Endowment for the Arts]] (NEA).

The AEA fought the destruction of historic [[Broadway theater]]s.<ref name=AEA90/> It played a major role in the recognition of the impact the [[AIDS]] epidemic on the world of theater, co-founding [[Broadway Cares/Equity Fights AIDS]].

== Joining ==
In 2021, Actor's Equity introduced an "Open Access" membership policy, whereby "any theatre worker who can demonstrate they have worked professionally as an actor or stage manager within Equity's geographical jurisdiction" may join the union. This opened eligibility to the union to theatre workers who had not previously worked for Equity employers. Theatre workers need to provide a copy of their contract and proof of pay. This policy was made permanent in 2023, superseding previous methods for earning eligibility to join Equity such as the Equity Membership Candidate (EMC) program.<ref name=":0">{{Cite web |title=Join Equity {{!}} Actors' Equity Association |url=http://www.actorsequity.org/join/ |access-date=2024-01-27 |website=www.actorsequity.org |language=en}}</ref><ref>{{Cite web |date=February 8, 2023 |title=Actors’ Equity Association Permanently Opens Access to Membership |url=https://www.actorsequity.org/news/PR/OpenAccessPermanently/ |access-date=2024-01-27 |website=www.actorsequity.org}}</ref>

Asides from Open Access, theatre workers may join Equity by being employed under an Equity contract, or by being a member of one of Equity's sister performing arts unions, the "Four A's": [[SAG-AFTRA]], [[American Guild of Musical Artists|AGMA]], [[American Guild of Variety Artists|AGVA]] or [[Guild of Italian American Actors|GIAA]]. Such applicants must have been a member of said sister union for at least one year, be a member in good standing of that union, have worked as a performer under the union's jurisdiction on a principal or "under-five" contract or at least three days of extra ("background") work, and must have completed non-union theatrical work.<ref name=":0" />

== Contracts ==
The AEA has several different types of contract, with different rules associated with them. Each contract type deals with a specific type of theater venue or production type.<ref>{{Cite web|url=https://www.backstage.com/magazine/article/equity-contracts-41295/|title=Equity Contracts|last=Khalili|first=Behnoosh|date=Feb 21, 2001|website=Backstage|access-date=Oct 17, 2019}}</ref> These include, but are not limited to: Council of Resident Stock Theatres (CORST), Guest Artist, Letters of Agreement (LoA), League of Resident Theatres (LoRT) Small Professional Theatres (SPT), and [[Theatre for Young Audiences]] (TYA).

AEA actors and stage managers are not allowed to work in non-Equity houses or on any productions in which an Equity Agreement has not been signed anywhere within the AEA's jurisdiction.<ref>{{Cite web|url=https://www.actorsequity.org/resources/contracts/|title=Contracts & Codes|website=ActorsEquity|access-date=Oct 17, 2019}}</ref>

==Equity waiver plan==

The [[Equity Waiver Plan]], originally implemented in 1972, was designed to support small theaters in Los Angeles by allowing non-union actors to perform in venues with 99 seats or fewer, offering lower pay scales and flexible production terms. Initially, actors were paid between $5 and $14 per performance, with productions exceeding 80 performances required to transition to a union contract. The plan fueled the growth of small theaters and spurred artistic achievement in the region. However, by 2000, AEA shifted the focus from box office earnings to theater size to determine payments for the first 12 weeks of a production. A 2014 survey revealed dissatisfaction among members, with many feeling the plan favored producers over actors. Despite these criticisms, the plan helped many small theaters evolve into midsize operations paying higher wages.<ref>{{cite web |url=https://definitions.uslegal.com/e/equity-waiver-entertainment-law/ |title=Equity Waiver |website=USLegal |access-date=2025-02-05}}</ref><ref>{{cite web |url=https://cardozolawreview.com/actors-sacrifice-amend-labor-law/ |last=Attadgie |first=Shelley |title=Combating the Actor’s Sacrifice: How to Amend Federal Labor Law to Influence the Labor Practices of Theaters and Incentivize Actors to Fight for Their Rights |work=Cardozo Law Review |date=2019 |volume=40 |issue=2 |access-date=2025-02-05}}</ref><ref>{{cite web |url=https://playbill.com/article/equitys-99-seat-theatre-plan-will-be-altered-next-year-com-84860 |date=October 18, 1999 |last=Manus |first=Willard |title=Equity’s 99-Seat Theatre Plan Will Be Altered Next Year |website=Playbill |access-date=2025-02-05}}</ref><ref>{{cite news |last=Gelt |first=Jessica |date=April 23, 2015 |title=99-seat theaters and actor pay: The debate so far |url=https://www.latimes.com/entertainment/arts/culture/la-et-cm-99-seat-theater-actors-equity-los-angeles-explainer-20150422-htmlstory.html |work=Los Angeles Times |access-date=2025-02-05}}</ref>

== Presidents ==
{{Div col|colwidth=30em}}
* 1913–1920 [[Francis Wilson (actor)|Francis Wilson]]
* 1920–1928 [[John Emerson (filmmaker)|John Emerson]]
* 1924 (June 17–August 12) [[Ralph Morgan]] (acting president)
* 1928–1937 [[Frank Gillmore]]
* 1937–1938 [[Burgess Meredith]] (acting president)
* 1938–1940 [[Arthur Byron]]
* 1940–1946 [[Bert Lytell]]
* 1946–1952 Clarence Derwent
* 1952–1964 [[Ralph Bellamy]]
* 1964–1973 [[Frederick O'Neal]]
* 1973–1982 [[Theodore Bikel]]
* 1982–1985 [[Ellen Burstyn]]
* 1985–1991 [[Colleen Dewhurst]]
* 1991–2000 [[Ron Silver]]
* 2000–2006 [[Patrick Quinn (actor)|Patrick Quinn]]
* 2006–2009 Mark Zimmerman
* 2009–2010 Paige Price (acting president)
* 2010–2015 [[Nick Wyman]]
* 2015–2024 [[Katherine Shindle]]
* 2024–present [[Brooke Shields]]<ref>{{cite web | last=Paulson | first=Michael | title=Brooke Shields Elected President of Labor Union Actors’ Equity | website=The New York Times | date=May 24, 2024 | url=https://www.nytimes.com/2024/05/24/theater/brooke-shields-president-actors-equity.html | access-date=May 24, 2024}}</ref>
{{Div col end}}

==See also==
{{Portal|Organized labour|Theatre}}
* [[American Federation of Television and Radio Artists]]
* [[Canadian Actors' Equity Association]]
* [[Clarence Derwent Awards]]
* [[Equity (trade union)|Equity]], union in the United Kingdom
* [[Legacy Robe]]
* [[Paul Robeson Award]]
* [[Philip Loeb Humanitarian Award]]
* [[St. Clair Bayfield Award]]
* [[Stage Managers' Association]]

==Footnotes==
{{Reflist|30em}}

==Further reading==
* Attadgie, Shelley. "Combating the Actor's Sacrifice: How to Amend Federal Labor Law to Influence the Labor Practices of Theaters and Incentivize Actors to Fight for Their Rights." ''Cardozo Law Review'' 40 (2018): 1045+.
* [https://www.jstor.org/stable/27670745 Baar, K. Kevyne. " ' What Has My Union Done For Me?' The Screen Actors Guild, the American Federation of Television and Radio Artists, and Actors' Equity Association Respond to McCarthy-Era Blacklisting." ''Film History'' (2008): 437-455]
* Chi, Emily C. "Star quality and job security: The role of the performers' unions in controlling access to the acting profession." ''Cardozo Arts & Entertainment Law Journal'' 18 (2000): 1.
* Gemmill, Paul F. ''Collective Bargaining by Actors: A Study of Trade-Unionism among Performers of the English-Speaking Legitimate Stage in America''. Bulletin of the United States Bureau of Labor Statistics, No. 402. Washington, D.C.: U.S. Government Printing Office, 1926.
* Harding, Alfred. ''The Revolt of the Actors''. New York: William Morrow & Company, 1929.
* Holmes, Sean P. ''Weavers of Dreams, Unite! Actors' Unionism in Early Twentieth-Century America''. Urbana, Illinois: University of Illinois Press, 2013.
* [https://www.tandfonline.com/doi/pdf/10.1080/01439680500064975 Holmes, Sean P. "And the villain still pursued her: The actors’ equity association in Hollywood, 1919–1929." ''Historical Journal of Film, Radio and Television'' 25.1 (2005): 27-50.]
* [https://www.jstor.org/stable/1123219 Meredith, Mark D. "From dancing halls to hiring halls: Actors' Equity and the closed shop dilemma." ''Columbia Law Review'' 96.1 (1996): 178-236.]
* Rogers, Lynne. "[http://www.americanheritage.com/content/actors%E2%80%99-revolt The Actors’ Revolt]". ''American Heritage'', Volume 47, Issue 5, September 1996.

==External links==
{{commonscatinline}}
* {{Official website|http://www.actorsequity.org}}

{{AFL-CIO}}
{{Special Tony Award}}

{{Authority control}}

[[Category:Actors' Equity Association| ]]
[[Category:AFL-CIO affiliates]]
[[Category:Theatrical organizations in the United States]]
[[Category:Trade unions established in 1913]]
[[Category:1913 establishments in the United States]]
[[Category:Special Tony Award recipients]]