Broadway Producers To Submit New Proposals In Talks With Striking Actors’ Equity Over Profit Sharing: UPDATE

The Broadway League, however, has not included such profit sharing as part of a new contract. Equity notes that some individual Broadway productions, including Frozen and Mean Girls, already offer to share profits with Equity members who participated in labs.
In other words, Equity members are barred from participating in commercial Broadway development work such as the monthlong labs that have become increasingly common over the last decade.
The lab issue came to prominent public notice in 2016 when producers of Hamilton agreed to demands from more than 20 original actors and dancers for a slice of the megahit's profits.
“We will continue our fight to make sure that Equity members can share in the success when a show becomes a hit and recoups.” “An unprecedented number of Equity members have already volunteered to support our campaign for a better Lab agreement,” said Mary McColl, Executive Director of Actors’ Equity Association.
According to Equity, weekly salaries under the lab agreement have been "frozen since 2007."
“It’s unconscionable that Equity members who go to work developing some of the biggest hits on Broadway have gone more than a decade without a raise, especially when we regularly read about many of those same shows smashing box office records and generating billions of dollars in revenue,” said Kate Shindle, President of Actors’ Equity Association.″ />
No one should be earning the same salary they were 11 years ago. This past November, Equity tweeted a statement noting, "It's been 11 years since the Developmental Lab agreement with the @BroadwayLeague was created. Help us show them you're #NotALabRat."
The strike, Equity reports, was authorized by the union's National Council and "follows media reports that 2018 was Broadway’s highest-ever grossing year on record."

As part of the "Not A Lab Rat" social media campaign, various Broadway performers pledged their support for the cause:
Martin would not disclose the new proposals the League will offer. St.
Update, with Broadway League response Broadway League president Charlotte St. Martin tells Deadline that producers will submit new proposals to Actors' Equity for another round of talks next week as the two sides resume negotiations over the sticky topic of profit sharing for original cast members.
[But] we were unaware that they had come to this impasse." Martin said, "and each side comes to the meetings with things they want to achieve and there's usually give and take. "Negotiations are negotiations," St.
"We absolutely believe we will end up with a deal that's good for everybody," St. Martin said, responding to the union's announcement today of a strike against new Broadway development.
Now, according to the union, one in four Broadway shows have used a Lab Agreement prior to opening, or about 75 times in all since 2016. Of those productions, 51% "went on to further production."
Director Jeremy Herrin, according to Playbill, was set to direct a month-long lab from April 29-May 25 in New York. Deadline has contacted a spokesperson for the production, which will feature a book by Crowe, music by Pulitzer Prize and Tony Award winner Tom Kitt (Next to Normal) and lyrics by Kitt and Crowe. Among the productions that were planning development labs is Almost Famous, the new musical based on Cameron Crowe's 2000 movie.
Deadline reported on the record-setting grosses last week.
Martin said the producers' League was advised late last week by Equity that action could be taken today, "but we were surprised that it was going to this level." St.
Earlier this afternoon, Actors' Equity declared a strike against members of the Broadway League – the producers' trade organization – on all new Broadway show development. The strike also covers workshops and staged readings. Specifically, Equity is barring its members from taking part in the lab sessions that have become an increasingly popular way for writers and performers to develop new productions, especially musicals.
In a recent New York Times story, such productions as Almost Famous, August Rush and jukebox musicals featuring songs by Michael Jackson and Huey Lewis are – or were – planning lab sessions. The story reported that both Lempicka and Jagged Little Pill recently used the method.
On the DO NOT WORK list are the Lab Agreement, Workshop Agreement and Staged Reading Contract and Stage Reading guidelines. The strike precludes Equity members from accepting work on any development agreement with Broadway League member producers, which covers virtually all Broadway producers.
In addition to a pay raise over the current weekly $1,000, Equity reportedly is seeking a 1% share of any profit after recoupment.

Broadway Box Office Slips; Recent Arrivals ‘Straight White Men’, ‘Head Over Heels’ Seek Footing

Paid attendance of 272,945 put Broadway houses at about 92% of capacity, with an average paid admission of $124.07. That attendance is down about 6% from last week when the Street had 33 shows running.
Paid attendance was 6,412, 85% of capacity, translating to a modest $46.15 average ticket price. Straight White Men officially opens July 23, three days before the Go-Go's musical Head Over Heels, which struggled during Week 6 of the season, grossing $295,898, a small 34% of the $870K potential.
Broadway season-to-date sales are $228,249,758, a jump of about 13% from last year at this time, and 85% of potential. Attendance is almost dead even with last year, with paid admission for the first six weeks of the season at 1,754,467, about 92% of capacity.
The Young Jean Lee-penned play had some cast upheavals in recent weeks, but nothing that would impact the marquee value too much – Hammer, Charles and Paul Schneider remain aboard. The originally announced Tom Skerritt left the production due to personal reasons prior to previews, with Denis Arndt stepping in as a replacement before parting ways due to "creative differences" last week. Stephen Payne (August: Osage County) now plays the character Ed.
Playing to sold-out (or close enough) houses were Aladdin at the New Amsterdam Theatre; Angels in America (for six performances at the Neil Simon); Come From Away (Schoenfeld); Dear Evan Hansen (Music Box); Frozen (St. James); Hamilton (Richard Rodgers); Harry Potter and the Cursed Child (Lyric); Mean Girls (August Wilson); My Fair Lady (Vivian Beaumont); The Band's Visit (Ethel Barrymore); The Book of Mormon (Eugene O'Neill); The Boys in the Band (Booth); The Lion King (Minskoff); and Wicked (Gershwin).
Springsteen on Broadway returns from hiatus to the Walter Kerr on July 10.
All figures courtesy of the trade group Broadway League.” />
Attendance of 4,139 was closer to the mark, about 89% of the 4,648 capacity. New(ish) to the line-up, Straight White Men played its first full week of eight previews (compared to last week's three performances), with the Josh Charles and Armie Hammer starrer taking in $302,222, about 47% of potential. That means average ticket price was $73.02, well below the $149 most ticket buyers could have spent.
SpongeBob SquarePants, which today announced a September 16 closing date, took in $891,818, a sizable $46K drop from last week, with 11,500 paid attendees taking up about 89% of available seats. Average ticket price was $77.55, a bargain for this well-worth-catching musical.
With Bruce Springsteen still on a soon-to-end hiatus, competition from fireworks and two fledgling productions still getting their footing, Broadway box office was down about 11% for the week ending July 8, the 30 shows grossing a total $33,865,380.

Broadway Box Office Flattens But ‘Come From Away’ Is SRO

Charlie and the Chocolate Factory, at the Nederlanders' Lunt-Fontanne, took the week's biggest tumble, falling $109.6K to $558.6K, 40 per cent of gross potential. The biggest gainer was Kinky Boots, up $71K to $766K at Jujamcyn Theatre's Hirschfeld.
• Hamilton ($2.94 million at the Nederlander Organization's Richard Rodgers; $273.54 average ticket)
• The Lion King ($1.87 million at the Nederlanders' Minskoff; $138.32)
Season to date totals were revealing: Grosses were up 20 per cent over a year ago, while attendance was up just 6.7 per cent.” /> Average price was up, to $116.92 from $116.23. Ticket sales for 24 shows during Week 19 of the 2017-2018 season  totaled $23.2 million, down $785.6K (3 per cent) from Week 18.
• Dear Evan Hansen ($1.68 million at the Shuberts' Music Box; $210.17)
The five top-grossing shows were:
• Hello, Dolly! ($2.31 million at the Shubert; $199.25)
• Wicked ($1.42 million at the Nederlanders' Gershwin; $111.88)
Add to that the hiatus status of War Paint (returning this week after a one-week shut-down), pulling another chunk out of the big till, and it's no surprise the total for the 24-show roster was down from the previous week, according to figures supplied by the trade group Broadway League. That was about the only good news in a week that saw Broadway ticket sales fall slightly in the usual Yom Kippur  dip, with the Jewish High Holy Day having an impact on three of the week's eight performance slots: Friday and Saturday evening and Saturday matinée.
This past week, even with a slight downturn in ticket sales (from just over $1.3 million to just under), the musical about airline passengers and crew diverted to a remote Newfoundland town in the immediate aftermath of the 9/11 terrorist attacks had the highest SRO number of any show. Average ticket price for CFA was $152.24. At 101.9 per cent, attendance edged out blockbusters like Hamilton (101.76 per cent), The Book of Mormon (101.72 per cent) and Dear Evan Hansen (101.56 per cent). It had a rock-solid summer, with above-capacity attendance at the Shubert Organization's Schoenfeld Theatre and no fire-sale ticket prices. Any doubt that feel-good Canadian import Come From Away would triumph over its modest Tony Awards showing (seven nominations; one win, for Christopher Ashley's staging) can be put to rest.