THEATER: Column criticizing actor sparks interesting reply
In last Friday's Theater Chat column in the Review-Journal's Neon section, I criticized an actor for walking out of a community theater production during the final weekend of its run. One of the issues brought up was that the actor was upset that performers were getting only a small, unspecified stipend, while the musicians were getting a guaranteed $50 a night fee. I sympathized with the actor for fuming over the traditional unfairness in favoring local musicians, but felt it was wrong of the actor to jeopardize a production in midrun after agreeing to the monetary terms. I received an interesting reply from Joe Hammond, a College of Southern Nevada theater professor and producer, as well as a local designer, director and actor.
"Mr. Del Valle:
"With great interest I read your Theater Chat article of November 19 regarding the actor who left the Onyx Production of 'The Rocky Horror Show.' I understand the point of your argument and can sympathize with the producer in regards to the corner that he was put into by the actor.
"I submit to you that part of the problem lies with the musicians themselves who want the actors to work for nothing but demand that they be paid for their services. Why is it the actors must perform for nothing but not the musicians who can be replaced by recorded music easily controlled by soundboard operators cued by stage managers? What recorded device exists to replace the actors? Film? Unlikely.
"As the producer here at College of Southern Nevada, I have watched how over the years operettas have become more and more expensive due to the need to use wireless microphones on all actors even in a 96-seat theater. Prior to the opening of 'Rocky Horror,' a representative of the Onyx called us and requested if they could use our wireless system ... in a 96-seat theater! When we did 'Reefer Madness' with the Atlas Theatre Company we had to have a wireless microphone system for a 100-seat theatre. Why? Because we could not get it into the musicians' heads that they needed to play softer so that the actors could be heard. Therefore, we had to use wireless microphones and suffer the ever increasing loudness of musicians who believed it was all about them. I even witnessed a so-called 'theater producer' who was playing the bass during the show wave at friends in the audience during the show itself. Unbelievable! The same problem occurred during 'The 25th Annual Putnam County Spelling Bee' at Las Vegas Little Theatre. This I know because I was one of the unpaid spotlight operators even though I possess an IATSE (union) card from Local 720.
"Here at CSN there exists a problem that forces us to use union musicians when we do an operetta. This costs us about $5,000 for each operetta we do. We have also had to increase the number of wireless microphones to over 24. We have to bend our rehearsal schedules to match the union rules of the musicians which becomes a great headache. I don't pay dancers, singers, nor actors but I'll be damned if I don't have to pay the musicians!
"This year we are doing a musical revue and once more we have to hire union musicians. (CSN theater head) Doug Baker is directing it and we will give him the live music he thinks is so important. But please note, I am scheduled to do the next operetta and I will use recorded music and no wireless microphones in the BackStage Theatre so the singers can use their natural voices rather than have them enhanced by the tricks of the sound system. It also will allow me to create copies of the music so that the singers can master them at home with the confidence that they will not be held hostage to the whims and hangovers of the musicians. We can program the sound system to always be at the right levels so that the audience can enjoy true voices rather then enhanced voices run through wireless microphones, equalizers, sound conditioners, soundboards, amplifiers, and speakers.
"I will use musicians to record the music in our digital sound recording lab, pay them for their efforts at a much reduced rate, and be done with the problems that arrive with live musicians. I will also be able to have everyone on the same page with the music as it will not change due to whatever problems appear such as loudness, intonation, and clumsiness which one must live with during a live performance with musicians. And I will not have to worry about the behavior factor with the musicians. This is how I want operetta to be done here at CSN and hopefully it will catch on within the community theater of Las Vegas for those struggling small theatres that cannot afford the cost. CSN can, but that doesn't mean I will do it.
"So, although I feel that the Onyx was treated unfairly by the actor who quit, what we really see is a flawed system that can be corrected by the technology that is becoming common to all and in doing so remove a costly and inconsistent billing that damages the chances for theaters to succeed and remain alive season after season. In a large venue such as the Summerlin Library, the CSN Horn Theatre, and Super Summer Theatre at the Spring Mountain Ranch, I understand the needs. But in a 100-seat or less theater I cannot fathom the logic presented by those who clamor for 'live' music. I find it illogical and dishonest, designed to have one group profit at the cost of all others and the quality of the show itself.
"If the musicians refuse to play without pay then replace them with electronic music that is consistent, controllable, and less expensive. The average audience will never know the difference. I know since I have tried both and audience members did not know the difference."
— Joe Hammond
