More actions
As ruminated upon by Cyd
Regarding live performances and studio productions:
They need to carry equal weight within the Company. This is not an either/or proposition. It is a symbiotic relationship; each improves the other. Live performances: 1) allow actors to hone their skills, 2) grow the fan base, 3) generate revenue from ticket sales and 4) increase sales of cds and other ARTC products and logo wear. Studio recordings: 1) generate revenue, 2) help retain top talent and 3) preserve ARTC’s past. We need to perform whenever and wherever feasible and record as often as finances and schedules allow.
Regarding financial compensation:
Money should be distributed across the board. It’s bad business to reward studio performers and ignore stage performers; it creates a class system that will divide and, one day, destroy the Company. The amount of effort that goes into a stage performance is considerable and deserves monetary recompense. Time spent rehearsing for and performing in live shows plus audience reaction to the material improves the performance quality of our studio recordings and cuts the amount of expensive studio time needed to produce a professional-sounding product. Live performers should get a cut of the door and/or a cut of cd sales. It’s fair; it increases buy-in by cast and crew members which translates into increased ticket and product sales; it helps retain talent, both voice and technical, which is key to ARTC’s success.
Regarding contracts:
Everyone and everything should have one and the sooner the better. Live Performance Contracts: State rehearsal commitment, length of run, pay. Cast and crew, including writers, producers and directors, receive a percentage of net ticket sales based on a pay-out formula to be established later. Sales table personnel get a percentage of net product sales. Studio Performance Contracts: Writers, actors and technicians receive a percentage of net sales based on a pay-out formula to be established later. Space and Equipment Leases: ARTC, as a business entity, needs to protect itself. Therefore, any serious discussion of ARTC’s future must address the Company’s current and total dependence upon the good will and continued support (nay, the very existence) of Bill Ritch and Caran Wilbanks. We need to take inventory; we need to make an accurate and detailed list of every piece of ARTC equipment including purchase price and ownership. Once that’s done, we need to draw up contracts that will cover outright gifts and outline the terms for the lease and/or purchase of all equipment not currently owned by ARTC.