Final post in this series for now will look at those shows that were done using AEA contracts that offer health insurance weeks.
To see the info on shows 101-200 in this category, click here. To see the info on shows 1-100 for this category, go here. There's a definition of health weeks and why they're important in this post.
To read every single post in this series, go here.
To learn more about the project as a whole, and how to submit numbers for the shows you're seeing or working on, please go here.
There were 56 shows (56%) that were on contracts that use health weeks.
Those shows had:
46 male directors, 21 female directors (67%, 33%)
58 male writers, 15 female writers (79%, 21%)
482 total actors
274 male actors, 208 female actors (57%, 43%)
256 union actors, 226 non-union actors (53%, 47%)
The union actors included 157 men and 99 women (61%, 39%)
402 local actors and 80 non-local actors. (83%, 17%)
The companies and shows in this group were:
6th St Playhouse/August: Osage County
ACT/4000 Miles, Stuck Elevator, Christmas Carol, Black Watch, Dead Metaphor, Arcadia
Aurora Theater/This is How it Goes, Our Practical Heaven, Wilder Times, Arsonists
Berkeley Playhouse/Guys and Dolls
Berkeley Rep/Fallaci, TroubleMaker, White Snake, Pericles
CalShakes/American Night, Romeo and Juliet
CenterREP/39 Steps, Pilgrims Shari and Musa in the New World, Status Update, Sweet Charity, Old Wicked Songs, Christmas Carol
CentralWorks/Pitch Perfect, The Grand Inquisitor
Campo Santo & Intersection/The River
Magic/Terminus, The Happy Ones, Se Llama Cristina
Marin Shakespeare Company/The Spanish Tragedy, Comedy of Errors
Mime Troupe/Oil and Water
Marin Theatre Company/The Whipping Man, Waiting for Godot, It's a Wonderful Life (radio play), Beauty Queen of Leenane
San Jose Rep/Next to Normal, The Minister's Wife
SF Playhouse/The MotherF*cker with the Hat, Abigail's Party, Bell Book and Candle, Camelot
San Jose Stage/Persuasion, Red, Reckless, Reefer Madness
Theatre Rhino/Something Cloudy, Something Clear, A Lady and a Woman
100 Shades of Green/The Fourth Messenger
TheatreWorks/The Loudest Man on Earth, The Mountaintop, Somewhere, Being Earnest, Big River
Word for Word & Z Space/You Know When the Men are Gone
Showing posts with label 100 shows. Show all posts
Showing posts with label 100 shows. Show all posts
Sunday, September 22, 2013
Friday, September 20, 2013
Counting Actors, shows 201-300, Contracts without weeks
To compare this data to shows 101-200, go here. To compare this to shows 1-100 and to learn what 'without weeks' means, go here.
To read every post there is in the '100 shows' group, go here. You'll see all the posts that look at the Counting Actors project by groups of 100.
This is post 3 of 4 in a series of posts that break down the shows by type of contract used. The two previous looked at non-union shows, and shows that used the BAPP. The next post will look at shows that use contracts with health weeks.
There were 10 shows (10%) that used union contracts that don't provide health weeks.
Those 10 shows had:
8 male directors, 3 female directors (73%, 27%)
8 male writers, 3 female writers (73%, 27%)
95 total actors
64 male actors, 31 female actors (67%, 33%)
22 union actors, 73 non union actors (23%, 77%)
Of the union actors, 13 were male, 9 were female. (59%, 41%)
All 95 of these actors were local. (100%)
The companies/shows that used contracts without weeks were:
Crowded Fire/410 [GONE] & The Bereaved
Indra's Net/Copenhagen
Mugwumpin/The Great Big Also
Shotgun/Woyzeck, Shipwreck & By and By
Livermore Shakespeare/Taming of the Shrew & The Liar
Porchlight/Scapino
To read every post there is in the '100 shows' group, go here. You'll see all the posts that look at the Counting Actors project by groups of 100.
This is post 3 of 4 in a series of posts that break down the shows by type of contract used. The two previous looked at non-union shows, and shows that used the BAPP. The next post will look at shows that use contracts with health weeks.
There were 10 shows (10%) that used union contracts that don't provide health weeks.
Those 10 shows had:
8 male directors, 3 female directors (73%, 27%)
8 male writers, 3 female writers (73%, 27%)
95 total actors
64 male actors, 31 female actors (67%, 33%)
22 union actors, 73 non union actors (23%, 77%)
Of the union actors, 13 were male, 9 were female. (59%, 41%)
All 95 of these actors were local. (100%)
The companies/shows that used contracts without weeks were:
Crowded Fire/410 [GONE] & The Bereaved
Indra's Net/Copenhagen
Mugwumpin/The Great Big Also
Shotgun/Woyzeck, Shipwreck & By and By
Livermore Shakespeare/Taming of the Shrew & The Liar
Porchlight/Scapino
Thursday, September 19, 2013
Counting Actors, shows 201-300 BAPP only
For a post that looks at this same data from shows 101-200, click here. For shows 1-100, click here. That post also includes a definition of the BAPP.
To read every single post in this series, about all 300 shows, click here.
Yesterday's post looked at non-union shows, and the next two posts will look at shows without health weeks, and shows with health weeks, respectively.
There were 6 shows (6%) that used the BAPP.
These 6 shows had:
2 male directors, 4 female directors (33%, 67%)
1 male writer, 5 female writers (17%, 83%)
There were 35 actors in these shows.
19 male actors, 16 female actors (54% , 46%)
16 union actors, 19 non-union actors (46%, 54%)
Of the union actors, 10 were men, and 6 were women. (63%, 37%)
All 35 were local actors
The BAPP companies/shows were:
3 Girls Theatre/3 shorts - the Things We Do for Love & The Couch
Playground & Katie May, Liz Anderson/Manic Pixie Dream Girl
Symmetry/ Language Archive
Tides/Little Foxes
Off Broadway West/Betrayal
To read every single post in this series, about all 300 shows, click here.
Yesterday's post looked at non-union shows, and the next two posts will look at shows without health weeks, and shows with health weeks, respectively.
There were 6 shows (6%) that used the BAPP.
These 6 shows had:
2 male directors, 4 female directors (33%, 67%)
1 male writer, 5 female writers (17%, 83%)
There were 35 actors in these shows.
19 male actors, 16 female actors (54% , 46%)
16 union actors, 19 non-union actors (46%, 54%)
Of the union actors, 10 were men, and 6 were women. (63%, 37%)
All 35 were local actors
The BAPP companies/shows were:
3 Girls Theatre/3 shorts - the Things We Do for Love & The Couch
Playground & Katie May, Liz Anderson/Manic Pixie Dream Girl
Symmetry/ Language Archive
Tides/Little Foxes
Off Broadway West/Betrayal
Wednesday, September 18, 2013
Counting Actors: shows 201-300, non-union only
This post, and the next 3 posts, will look at the show data sorted by the type of union contract or code that they use. Today is non-union shows, tomorrow will be shows that use the BAPP, then Friday will have shows on Equity contracts without health weeks, and Saturday will have shows on Equity contracts with health weeks.
If all of this is new and confusing for you, then take a look at the posts from the first hundred on non-union, BAPP, contracts without weeks, and contracts with weeks. All of those include explanations of what those categories mean.
And if you'd like to compare this post to the non-union shows from the 101-200 grouping, take a look here.
As always, to read every post in this series ever, use this link.
So, there were 28 shows (or 28%) in this group that used no union actors.
Those 28 shows had:
11 male directors, 18 female directors (38%, 62%)
27 male writers, 21 female writers (56%, 44%)
210 actors worked on those shows. All were non-union.
104 male actors, 106 female actors (49.5%, 50.5%)
3 actors were non-local. (1%)
The companies/shows that were in this group are:
3 Girls Theatre/3 Girls Squared
Altarena Playhouse/God of Carnage
BACT/Cat in the Hat
CentralWorks/Medea Hypothesis
Custom Made/Why Torture is Wrong and People Who Love Them & Eurydice
Cutting Ball/Krispy Kritters in the Scarlet Night & The Chairs
DIVAFest/You're Going to Bleed
Douglas Morisson Theater/Eurydice
Dragon Productions/Becky's New Car
Impact/Toil and Trouble & Jukebox Stories & As You Like It
Inferno Theater/Dracula
Just Theater/A Maze
Killing My Lobster/KML does not fear the end
NCTC/Birds of a Feather
Ragged Wing/Time Sensitive
Role Players Ensemble/Expecting Isabel
Theatre of Yugen/A Minor Cycle & Sorya 2013
African American Shakespeare/Cat on a Hot Tin Roof
Bigger than a Breadbox/Tis Pity She's a Whore
Butterfield 8/Salome
Shady Shakespeare/Twelfth Night & Romeo and Juliet
Ross Valley Players/Pack of Lies
If all of this is new and confusing for you, then take a look at the posts from the first hundred on non-union, BAPP, contracts without weeks, and contracts with weeks. All of those include explanations of what those categories mean.
And if you'd like to compare this post to the non-union shows from the 101-200 grouping, take a look here.
As always, to read every post in this series ever, use this link.
So, there were 28 shows (or 28%) in this group that used no union actors.
Those 28 shows had:
11 male directors, 18 female directors (38%, 62%)
27 male writers, 21 female writers (56%, 44%)
210 actors worked on those shows. All were non-union.
104 male actors, 106 female actors (49.5%, 50.5%)
3 actors were non-local. (1%)
The companies/shows that were in this group are:
3 Girls Theatre/3 Girls Squared
Altarena Playhouse/God of Carnage
BACT/Cat in the Hat
CentralWorks/Medea Hypothesis
Custom Made/Why Torture is Wrong and People Who Love Them & Eurydice
Cutting Ball/Krispy Kritters in the Scarlet Night & The Chairs
DIVAFest/You're Going to Bleed
Douglas Morisson Theater/Eurydice
Dragon Productions/Becky's New Car
Impact/Toil and Trouble & Jukebox Stories & As You Like It
Inferno Theater/Dracula
Just Theater/A Maze
Killing My Lobster/KML does not fear the end
NCTC/Birds of a Feather
Ragged Wing/Time Sensitive
Role Players Ensemble/Expecting Isabel
Theatre of Yugen/A Minor Cycle & Sorya 2013
African American Shakespeare/Cat on a Hot Tin Roof
Bigger than a Breadbox/Tis Pity She's a Whore
Butterfield 8/Salome
Shady Shakespeare/Twelfth Night & Romeo and Juliet
Ross Valley Players/Pack of Lies
Tuesday, September 17, 2013
Counting Actors: Writers, gender, & time for shows 201-300
To compare this data with shows 1-100 go here. With shows 101-200, go here. To read every post in the hundreds series, go here.
In this post, I'm looking at what some might call the Shakespeare factor. When I share the general data with folks, sometimes I hear 'well, the reason that the playwright numbers are so skewed is because of classic plays - those are all by male writers. New plays are much closer to 50/50, right?'
So, I've broken the shows down into classic (which means anything written in 1960 or before) and contemporary (anything written since 1960).
You'll recall from yesterday that shows 201-300 had a writer split of 68% male and 33% female. That there were 94 male writers, and 44 female writers, a total larger than 100 because of co-authoring situations, one acts by different authors presented on the same bill, and including all the different writers (book, lyrics, composer) who work on musicals.
Shows 201-300 break down into 21 classic shows and 79 contemporary shows.
The classic shows had 24 writers total, breaking down to 23 male writers and 1 female writer (Tides' Theater's production of The Little Foxes by Lillian Hellman) - this is 96% male, 4% female.
The contemporary shows had 114 writers total, breaking down to 71 male writers and 43 female writers, or 62% male and 38% female.
Within the contemporary category, I also looked at new shows, or shows that had been written since the year 2000. I found 63 new shows within the contemporary group.
Those 63 new shows had a total of 91 writers, and broke down to 52 male writers, 39 female writers, or 57% male, 43% female.
More data analysis to come! The next few posts in this series will look at how the shows break down by type of Actors' Equity contract they use.
Again, if you want to review past posts in this series, go here.
In this post, I'm looking at what some might call the Shakespeare factor. When I share the general data with folks, sometimes I hear 'well, the reason that the playwright numbers are so skewed is because of classic plays - those are all by male writers. New plays are much closer to 50/50, right?'
So, I've broken the shows down into classic (which means anything written in 1960 or before) and contemporary (anything written since 1960).
You'll recall from yesterday that shows 201-300 had a writer split of 68% male and 33% female. That there were 94 male writers, and 44 female writers, a total larger than 100 because of co-authoring situations, one acts by different authors presented on the same bill, and including all the different writers (book, lyrics, composer) who work on musicals.
Shows 201-300 break down into 21 classic shows and 79 contemporary shows.
The classic shows had 24 writers total, breaking down to 23 male writers and 1 female writer (Tides' Theater's production of The Little Foxes by Lillian Hellman) - this is 96% male, 4% female.
The contemporary shows had 114 writers total, breaking down to 71 male writers and 43 female writers, or 62% male and 38% female.
Within the contemporary category, I also looked at new shows, or shows that had been written since the year 2000. I found 63 new shows within the contemporary group.
Those 63 new shows had a total of 91 writers, and broke down to 52 male writers, 39 female writers, or 57% male, 43% female.
More data analysis to come! The next few posts in this series will look at how the shows break down by type of Actors' Equity contract they use.
Again, if you want to review past posts in this series, go here.
Monday, September 16, 2013
Counting Actors: General Stats for shows 201-300
To compare this data to shows 1-100, go here. To compare this data to shows 101-200, go here.
To back track through ALL of the show data examined in groups of 100, go here.
Shows 201-300 (aka the 3rd hundred) had:
67 male directors, 46 female directors (co-directing situations as well as including music directors for musicals in this group means that the total is greater than 100 directors for 100 shows)
94 male writers, 44 female writers (some shows were co-written, other shows were groups of one-acts by different writers. All writing team collaborators on a musical - book, lyrics, composer - are included in the writers group.)
This means 59% male directors, 41% female directors. It's 68% male writers and 32% female writers.
822 actors worked on these 100 shows, for an average cast size of 8.2. The largest cast show was ACT's Christmas Carol, with a cast of 46 actors. No solo shows in this group, but many 2 person casts. These actors included 461 men, 361 women (56%, 44%), 294 union members and 528 non-union members (36%, 64%), and 739 locals and 83 non-local actors (90%, 10%).
Of the 294 union members, 180 were men and 114 were women (61%, 39%). Non-local actors taken as a portion of the union talent means that 72% of the equity jobs went to local talent, 28% to folks from out of town.
In the next week or so, I'll slice this data a few different ways, following the groupings I set with the previous hundreds - I'll split things out by time period, and also by type of union contract. Again, you can read all of the past posts in this series by going here.
To back track through ALL of the show data examined in groups of 100, go here.
Shows 201-300 (aka the 3rd hundred) had:
67 male directors, 46 female directors (co-directing situations as well as including music directors for musicals in this group means that the total is greater than 100 directors for 100 shows)
94 male writers, 44 female writers (some shows were co-written, other shows were groups of one-acts by different writers. All writing team collaborators on a musical - book, lyrics, composer - are included in the writers group.)
This means 59% male directors, 41% female directors. It's 68% male writers and 32% female writers.
822 actors worked on these 100 shows, for an average cast size of 8.2. The largest cast show was ACT's Christmas Carol, with a cast of 46 actors. No solo shows in this group, but many 2 person casts. These actors included 461 men, 361 women (56%, 44%), 294 union members and 528 non-union members (36%, 64%), and 739 locals and 83 non-local actors (90%, 10%).
Of the 294 union members, 180 were men and 114 were women (61%, 39%). Non-local actors taken as a portion of the union talent means that 72% of the equity jobs went to local talent, 28% to folks from out of town.
In the next week or so, I'll slice this data a few different ways, following the groupings I set with the previous hundreds - I'll split things out by time period, and also by type of union contract. Again, you can read all of the past posts in this series by going here.
Friday, November 30, 2012
Counting Actors: the 2nd 100 shows contracts with health weeks
To compare this with the first 100 shows that had contracts with weeks, please go here. There's a definition of what 'health weeks' are, and why they're important, included in this post.
57 shows were produced by theaters with contracts that include health weeks (or 57%) of the total.
Those shows had:
39 male directors, 31 female directors (56%, 44%)
64 male writers, 22 female writers (74%, 26%)
443 actors
271 male actors, 172 female actors (61%, 39%)
260 union actors, 183 non-union actors (59%, 41%)
168 male union actors, 93 female union actors (65%, 35%)
358 local actors, and 83 non-local actors (1 of those non-local actors was a non-union actor) (19% non-local, 81% local)
The companies and shows were:
ACT/The Scottsboro Boys, Maple and Vine, Elektra, The Normal Heart and Play/Endgame
Aurora/The Elaborate Entrance of Chad Deity, Salomania, and Anatol
Berkeley Playhouse/Lucky Duck
Berkeley Rep/Emotional Creatures, Red, Chinglish and Black and Blue Boys, Broken Men
CalShakes/Hamlet, Tempest, Spunk and Blithe Spirit
CenterREP/The Underpants, Lucky Stiff, and Rumors
CentralWorks/Education of a Rake and The Richard the First Trilogy
Cutting Ball/The Strindberg Chamber Plays
Diablo Theater Company/Legally Blonde
Golden Thread/ReOrient 2012 Series A
Magic/Bruja, The Other Place, Any Given Day
Marin Shakes/The Liar, King John, Midsummer Night's Dream
Marin Theater Co/Othello, God of Carnage, Circle Mirror Transformation and Topdog/Underdog
Playground/Best of Playground 2012
Retrodome/Becoming Britney
San Jose Rep/The Understudy, Death of the Novel and Bill W and Doctor Bob
SF Playhouse/Bloody Bloody Andrew Jackson, Reunion, A Behanding in Spokane and The Aliens
SF Shakes/Henry V
SF Mime Troupe/The Last Election
SJ Stage/Race and Bloody Bloody Andrew Jackson
Stanford Continuing Studies and Stanford Summer Theater/Miss Julie
TheatreFirst/Oleanna
TheatreWorks/Of Mice and Men, Wheelhouse, Upright Grand, Time Stands Still, and 33 Variations
Willows/Dolls House
Z Space & Word for Word/Stories from Sonoma Mountain
57 shows were produced by theaters with contracts that include health weeks (or 57%) of the total.
Those shows had:
39 male directors, 31 female directors (56%, 44%)
64 male writers, 22 female writers (74%, 26%)
443 actors
271 male actors, 172 female actors (61%, 39%)
260 union actors, 183 non-union actors (59%, 41%)
168 male union actors, 93 female union actors (65%, 35%)
358 local actors, and 83 non-local actors (1 of those non-local actors was a non-union actor) (19% non-local, 81% local)
The companies and shows were:
ACT/The Scottsboro Boys, Maple and Vine, Elektra, The Normal Heart and Play/Endgame
Aurora/The Elaborate Entrance of Chad Deity, Salomania, and Anatol
Berkeley Playhouse/Lucky Duck
Berkeley Rep/Emotional Creatures, Red, Chinglish and Black and Blue Boys, Broken Men
CalShakes/Hamlet, Tempest, Spunk and Blithe Spirit
CenterREP/The Underpants, Lucky Stiff, and Rumors
CentralWorks/Education of a Rake and The Richard the First Trilogy
Cutting Ball/The Strindberg Chamber Plays
Diablo Theater Company/Legally Blonde
Golden Thread/ReOrient 2012 Series A
Magic/Bruja, The Other Place, Any Given Day
Marin Shakes/The Liar, King John, Midsummer Night's Dream
Marin Theater Co/Othello, God of Carnage, Circle Mirror Transformation and Topdog/Underdog
Playground/Best of Playground 2012
Retrodome/Becoming Britney
San Jose Rep/The Understudy, Death of the Novel and Bill W and Doctor Bob
SF Playhouse/Bloody Bloody Andrew Jackson, Reunion, A Behanding in Spokane and The Aliens
SF Shakes/Henry V
SF Mime Troupe/The Last Election
SJ Stage/Race and Bloody Bloody Andrew Jackson
Stanford Continuing Studies and Stanford Summer Theater/Miss Julie
TheatreFirst/Oleanna
TheatreWorks/Of Mice and Men, Wheelhouse, Upright Grand, Time Stands Still, and 33 Variations
Willows/Dolls House
Z Space & Word for Word/Stories from Sonoma Mountain
Thursday, November 29, 2012
Counting Actors: the 2nd 100 shows contracts without health weeks
To compare this data to the exact same set for the first 100 shows, and learn what 'contracts without weeks' means, go here.
Please also take a look at the previous two posts in this series, which cover non-union shows, and BAPP agreement shows. The next post will cover data for contracts with weeks.
There were 12 shows that fit this category (12%).
Those shows had:
4 male directors, 10 female directors (29%, 61%)
10 male writers, and 3 female writers (77%, 33%
131 total actors
78 male actors, 53 female actors (60%, 40%)
25 union actors and 106 non union actors (19%, 81%)
15 male union actors and 10 female union actors (60%, 40%)
There were 4 non-union, non-local actors in these shows and 126 local actors. (3% non-local, 97% local)
The companies and shows were:
AlterTheater/References to Salvador Dali Make Me Hot
Crowded Fire/The Hundred Flowers Project
Foolsfury/Port Out Starboard Home
Intersection for the Arts & Playwrights Foundation/Dogsbody
Livermore Shakespeare Festival/Hamlet and Merry Wives of Windsor
Porchlight/Our Country's Good
Shotgun/The Great Divide, Precious Little, Assassins, Voyage and Truffaldino Says No
Please also take a look at the previous two posts in this series, which cover non-union shows, and BAPP agreement shows. The next post will cover data for contracts with weeks.
There were 12 shows that fit this category (12%).
Those shows had:
4 male directors, 10 female directors (29%, 61%)
10 male writers, and 3 female writers (77%, 33%
131 total actors
78 male actors, 53 female actors (60%, 40%)
25 union actors and 106 non union actors (19%, 81%)
15 male union actors and 10 female union actors (60%, 40%)
There were 4 non-union, non-local actors in these shows and 126 local actors. (3% non-local, 97% local)
The companies and shows were:
AlterTheater/References to Salvador Dali Make Me Hot
Crowded Fire/The Hundred Flowers Project
Foolsfury/Port Out Starboard Home
Intersection for the Arts & Playwrights Foundation/Dogsbody
Livermore Shakespeare Festival/Hamlet and Merry Wives of Windsor
Porchlight/Our Country's Good
Shotgun/The Great Divide, Precious Little, Assassins, Voyage and Truffaldino Says No
Wednesday, November 28, 2012
Counting Actors: The 2nd 100 shows BAPP only
For a post looking at the same information for the first 100 shows, click here. There's also a definition of the BAPP at the beginning of that post.
The previous post looked at non-union shows, and the next two posts will look at union contracts without and then with health weeks.
There were 11 BAPP shows in the 2nd 100, or 11% of the total shows.
These shows had:
6 male directors, 5 female directors (55%, 45%)
8 male writers, 4 female writers (66%, 33%)
60 total actors
22 male actors, 38 female actors (36%, 64%)
21 union actors, 39 non union actors (35%, 65%)
8 male union actors, 13 female union actors (38%, 62%)
All actors except 1 were local actors. The non-local actor was also a non-union actor. That's 98% local, 2% non-local.
The companies and shows were:
Aluminous Collective/Dusk Rings a Bell
Back It Up Productions/Project:Lohan
BrickaBrack/Stalking Christopher Walken
Custom Made/The Play about the Baby
Diaspora Productions/And That's What Little Girls are Made of
Impact&Playground/Crevice
One Heart Productions/Angel of the Poor
Theater Rhino/100 Saints You Should Know
Ross Valley Players/Harmony in Hiding
Symmetry Theater/Emilie
Tides Theater/Five Lesbians Eating a Quiche
The previous post looked at non-union shows, and the next two posts will look at union contracts without and then with health weeks.
There were 11 BAPP shows in the 2nd 100, or 11% of the total shows.
These shows had:
6 male directors, 5 female directors (55%, 45%)
8 male writers, 4 female writers (66%, 33%)
60 total actors
22 male actors, 38 female actors (36%, 64%)
21 union actors, 39 non union actors (35%, 65%)
8 male union actors, 13 female union actors (38%, 62%)
All actors except 1 were local actors. The non-local actor was also a non-union actor. That's 98% local, 2% non-local.
The companies and shows were:
Aluminous Collective/Dusk Rings a Bell
Back It Up Productions/Project:Lohan
BrickaBrack/Stalking Christopher Walken
Custom Made/The Play about the Baby
Diaspora Productions/And That's What Little Girls are Made of
Impact&Playground/Crevice
One Heart Productions/Angel of the Poor
Theater Rhino/100 Saints You Should Know
Ross Valley Players/Harmony in Hiding
Symmetry Theater/Emilie
Tides Theater/Five Lesbians Eating a Quiche
Tuesday, November 27, 2012
Counting Actors: the 2nd 100 shows non union only
This post, and the next three after it in this series will divide shows 101-200 by their type of union contract, just like I did back in March with shows 1-100. Today, I'm looking at the shows that had no union actors at all. Next up will be the shows that use the BAPP or Bay Area Project Policy code, and after that, shows that had Equity contracts without health weeks, and finally shows that had Equity contracts which include health weeks.
If you'd like to see the posts I did in March for these four categories (and get slightly more explanation), go to non-union, BAPP, contracts without weeks, or contracts with weeks.
There are 19 shows from the 2nd 100 (or 19%) that used no union actors at all.
These 19 shows had:
12 male directors, 9 female directors (57%, 43%)
16 male writers, 3 female writers (84%, 16%)
133 total actors (for an average cast of 7 per show)
78 men and 55 women (59%, 41%)
4 of these actors (3%) were non-local.
The non-union shows/companies are:
BACT/Click Clack Moo
Central Works/Mesmeric Revelation
City Lights/In the Next Room or The Vibrator Play
Collage Theater/Box City
Crowded Fire/Good Goods and Invasion!
Custom Made/Merchant of Venice
Impact/Fisherman's Wife and Great Zamboni
Instrumental Theater/A Game
Intersection/Tree City Legends
Palo Alto Players/Lieutenant of Inishmore
Pear Avenue Theater/Mrs. Warren's Profession
Ragged Wing/Within the Wheel
Second Wind/Kiss of the Spider Woman
SF Shakespeare Festival/Midsummer Night's Dream (school tour version)
Thrillpeddlers/Marat/Sade
We Players/Twelfth Night
Wily West Productions/Believers
If you'd like to see the posts I did in March for these four categories (and get slightly more explanation), go to non-union, BAPP, contracts without weeks, or contracts with weeks.
There are 19 shows from the 2nd 100 (or 19%) that used no union actors at all.
These 19 shows had:
12 male directors, 9 female directors (57%, 43%)
16 male writers, 3 female writers (84%, 16%)
133 total actors (for an average cast of 7 per show)
78 men and 55 women (59%, 41%)
4 of these actors (3%) were non-local.
The non-union shows/companies are:
BACT/Click Clack Moo
Central Works/Mesmeric Revelation
City Lights/In the Next Room or The Vibrator Play
Collage Theater/Box City
Crowded Fire/Good Goods and Invasion!
Custom Made/Merchant of Venice
Impact/Fisherman's Wife and Great Zamboni
Instrumental Theater/A Game
Intersection/Tree City Legends
Palo Alto Players/Lieutenant of Inishmore
Pear Avenue Theater/Mrs. Warren's Profession
Ragged Wing/Within the Wheel
Second Wind/Kiss of the Spider Woman
SF Shakespeare Festival/Midsummer Night's Dream (school tour version)
Thrillpeddlers/Marat/Sade
We Players/Twelfth Night
Wily West Productions/Believers
Sunday, November 25, 2012
Counting Actors: the 2nd 100 shows writers+gender+time stats
To see how this post compares to the same data for the first 100 shows, please take a look here.
So, if you're following along, you'll recall that the 2nd hundred plays had 99 male writers and 32 female writers (or 76% and 24%) and that the number is higher than 100 because of co-author situations, multiple one-acts on the same bill, and including writers of lyrics, book, music for musicals in the writers category.
In this post, I'm looking at how the writer's gender varies depending on when the play was written. If the play was written prior to 1960, I'm labeling it a classic play. If after 1960, I'm calling it a contemporary play. And, within the contemporary play category, I'm calling plays written since 2000 new plays.
Of shows 101-200, 22 fell into the classic category and 80 fell into the contemporary category. Two of the shows counted had 1 play/author from before 1960 and 1 or more plays/authors from after, so ended up getting counted 2 times (ACT's Endgame/Play has publishing dates of 1957 and 1963, and Golden Thread's ReOrient Series A included Egyptian playwright Tawfiq Al Haqim's War and Peace, from 1944, along with several new pieces). With in the contemporary category, 69 plays were new.
The classic pieces had 22 writers total, breaking down to 22 male writers and no female writers. No one co-authored here, and no musicals were in this category.
The contemporary pieces were written by 101 writers, and include multi-writer shows like the Best of Playground and the previously mentioned ReOrient series, as well as co-written shows and musicals. Of the 101 writers, 78 were male and 32 female, or 71% and 29% respectively.
Within the contempory category, I did pull out 69 new plays, written by 96 writers, 66 male and 30 female, or 69% and 31% respectively.
More data to come - in regards to who is working with which union contract, and also putting all two hundred shows into some useable, shareable infographics. Stay tuned!!
So, if you're following along, you'll recall that the 2nd hundred plays had 99 male writers and 32 female writers (or 76% and 24%) and that the number is higher than 100 because of co-author situations, multiple one-acts on the same bill, and including writers of lyrics, book, music for musicals in the writers category.
In this post, I'm looking at how the writer's gender varies depending on when the play was written. If the play was written prior to 1960, I'm labeling it a classic play. If after 1960, I'm calling it a contemporary play. And, within the contemporary play category, I'm calling plays written since 2000 new plays.
Of shows 101-200, 22 fell into the classic category and 80 fell into the contemporary category. Two of the shows counted had 1 play/author from before 1960 and 1 or more plays/authors from after, so ended up getting counted 2 times (ACT's Endgame/Play has publishing dates of 1957 and 1963, and Golden Thread's ReOrient Series A included Egyptian playwright Tawfiq Al Haqim's War and Peace, from 1944, along with several new pieces). With in the contemporary category, 69 plays were new.
The classic pieces had 22 writers total, breaking down to 22 male writers and no female writers. No one co-authored here, and no musicals were in this category.
The contemporary pieces were written by 101 writers, and include multi-writer shows like the Best of Playground and the previously mentioned ReOrient series, as well as co-written shows and musicals. Of the 101 writers, 78 were male and 32 female, or 71% and 29% respectively.
Within the contempory category, I did pull out 69 new plays, written by 96 writers, 66 male and 30 female, or 69% and 31% respectively.
More data to come - in regards to who is working with which union contract, and also putting all two hundred shows into some useable, shareable infographics. Stay tuned!!
Friday, November 23, 2012
Counting Actors: General Stats for shows 101-200
To see how this info compares to shows 1-100, please take a look here.
Shows 101-200 (aka the 2nd hundred shows) for Counting Actors had:
62 male directors, 55 female directors (several co-directed shows and/or shows made up of one-acts with different directors. Musical Directors are also included as directors).
99 male writers, 32 female writers (again, one-acts, co-authors and counting writers of books, lyrics, music meant that this total was over 100)
This means 53% male directors and 47% female directors. It means 76% male writers and 24% female writers.
774 actors worked on those 100 shows. The largest cast show was Legally Blonde at Diablo Theatre Company, and the count includes two 1 person shows. These actors include 454 men and 320 women (59%, 41%), 308 union actors and 466 non-union actors (40%, 60%) and 676 locals and 96 non-locals (88%, 12%).
Of the 308 union actors, 192 were men and 116 were women (62%, 38%), and while not explicitly asked, I noted that in 2 cases, the non-local actors were non-union, so that means that 70% of the union roles were cast with local actors and 30% from out of town.
Many more posts to come on this topic. Like I did back in March with the first 100 shows, I'm planning to break down this data by the year the play was written (pre-1960, 1960-2000, 2000 to now) and by the type of union contract used (no contract, BAPP, contracts w/out health weeks, contracts w/health weeks).
I'm also curious to look at the affinity between women writers and other opportunities for women on a project (in other words do women write more female characters?), as well as how this question plays out when a woman is a director.
And, I'm planning to put the first 200 shows together into some additional data, and use infographics to help tell the story.
Shows 101-200 (aka the 2nd hundred shows) for Counting Actors had:
62 male directors, 55 female directors (several co-directed shows and/or shows made up of one-acts with different directors. Musical Directors are also included as directors).
99 male writers, 32 female writers (again, one-acts, co-authors and counting writers of books, lyrics, music meant that this total was over 100)
This means 53% male directors and 47% female directors. It means 76% male writers and 24% female writers.
774 actors worked on those 100 shows. The largest cast show was Legally Blonde at Diablo Theatre Company, and the count includes two 1 person shows. These actors include 454 men and 320 women (59%, 41%), 308 union actors and 466 non-union actors (40%, 60%) and 676 locals and 96 non-locals (88%, 12%).
Of the 308 union actors, 192 were men and 116 were women (62%, 38%), and while not explicitly asked, I noted that in 2 cases, the non-local actors were non-union, so that means that 70% of the union roles were cast with local actors and 30% from out of town.
Many more posts to come on this topic. Like I did back in March with the first 100 shows, I'm planning to break down this data by the year the play was written (pre-1960, 1960-2000, 2000 to now) and by the type of union contract used (no contract, BAPP, contracts w/out health weeks, contracts w/health weeks).
I'm also curious to look at the affinity between women writers and other opportunities for women on a project (in other words do women write more female characters?), as well as how this question plays out when a woman is a director.
And, I'm planning to put the first 200 shows together into some additional data, and use infographics to help tell the story.
Friday, October 26, 2012
So Close!!
Did a little tallying of the shows for Counting Actors, and it turns out there's fewer than 10 plays left until the total count is 200 shows!!
If you're reading this, you've probably got plans to see a show, rehearse a show or perform a show before the end of October. Will you take a few minutes and send the info about that show to the project? If you don't know what I'm talking about, click on the Counting Actors link in the sidebar to the right.
It would be fantastic to have 200 shows by the end of the month.
If you're reading this, you've probably got plans to see a show, rehearse a show or perform a show before the end of October. Will you take a few minutes and send the info about that show to the project? If you don't know what I'm talking about, click on the Counting Actors link in the sidebar to the right.
It would be fantastic to have 200 shows by the end of the month.
Friday, March 16, 2012
Counting Actors the first 100 shows: contracts with health weeks
Today's post focuses on stats from shows that use union contracts that include health weeks, which I defined in yesterday's post.
53 shows (or 53%) used contracts that offered health care weeks.
Those shows had:
30 male directors, 23 female directors (57% and 43%)
53 male writers, 10 female writers (84% and 16%)
409 total actors
242 men, 167 women (59% and 41%)
221 union actors, 188 non union actors (54% and 46%)
133 male union actors, 88 female union actors (60% and 40%)
342 local, 67 non local actors (84% and 16% of total actors, or 30% of union actors were non-local)
The shows were:
ACT/Humor Abuse, Scorched and Race
Aurora/Delicate Balance, Metamorphosis and Body Awareness
Berkeley Playhouse/Seussical and Pirates of Penzance
Berkeley Rep/Let me down easy, Wild Bride, Doctor in Spite of Himself and Ghost Light
CalShakes/Taming of the Shrew and Candida
California Conservatory Theater/Sleuth and Trip to Bountiful
Center Rep/Arms and the Man and Smokey Joe's Cafe
Central Works/Reduction in Force
Golden Thread/Night over Erzinga and Language Rooms
Jewel Theater/The House of Blue Leaves
Lorraine Hansberry/Almost Nothing/Day of Absence and Blue/Orange
Magic/Jesus in India, Annapurna, and Why We Have a Body
Marin Shakes/Tempest, Macbeth and Complete Works of William Shakespeare, Abridged
Marin Theatre Company/Tiny Alice, Seven Guitars, A Steady Rain, Bellweather, Glass Menagerie
SF Shakes/Cymbeline
SF Playhouse/Becky Shaw, Period of Adjustment, Tigers Be Still
SF Mime Troupe/2012:The Musical
Shotgun Players/Phaedra, God's Plot and Road to Hades
San Jose Rep/Double Indemnity
Stanford Summer Theater/Old Times
TheatreWorks/Clementine in the Lower 9, Pitmen Painters, and Sense and Sensibility
The Jewish Theater/In the Maze of Our Own Lives
Willows/Light in the Piazza and Nunset Boulevard
Z Space & Pig Iron Theater/Chekhov Lizardbrain
Z Space & Word for Word/Food Stories
53 shows (or 53%) used contracts that offered health care weeks.
Those shows had:
30 male directors, 23 female directors (57% and 43%)
53 male writers, 10 female writers (84% and 16%)
409 total actors
242 men, 167 women (59% and 41%)
221 union actors, 188 non union actors (54% and 46%)
133 male union actors, 88 female union actors (60% and 40%)
342 local, 67 non local actors (84% and 16% of total actors, or 30% of union actors were non-local)
The shows were:
ACT/Humor Abuse, Scorched and Race
Aurora/Delicate Balance, Metamorphosis and Body Awareness
Berkeley Playhouse/Seussical and Pirates of Penzance
Berkeley Rep/Let me down easy, Wild Bride, Doctor in Spite of Himself and Ghost Light
CalShakes/Taming of the Shrew and Candida
California Conservatory Theater/Sleuth and Trip to Bountiful
Center Rep/Arms and the Man and Smokey Joe's Cafe
Central Works/Reduction in Force
Golden Thread/Night over Erzinga and Language Rooms
Jewel Theater/The House of Blue Leaves
Lorraine Hansberry/Almost Nothing/Day of Absence and Blue/Orange
Magic/Jesus in India, Annapurna, and Why We Have a Body
Marin Shakes/Tempest, Macbeth and Complete Works of William Shakespeare, Abridged
Marin Theatre Company/Tiny Alice, Seven Guitars, A Steady Rain, Bellweather, Glass Menagerie
SF Shakes/Cymbeline
SF Playhouse/Becky Shaw, Period of Adjustment, Tigers Be Still
SF Mime Troupe/2012:The Musical
Shotgun Players/Phaedra, God's Plot and Road to Hades
San Jose Rep/Double Indemnity
Stanford Summer Theater/Old Times
TheatreWorks/Clementine in the Lower 9, Pitmen Painters, and Sense and Sensibility
The Jewish Theater/In the Maze of Our Own Lives
Willows/Light in the Piazza and Nunset Boulevard
Z Space & Pig Iron Theater/Chekhov Lizardbrain
Z Space & Word for Word/Food Stories
Thursday, March 15, 2012
Counting Actors the first 100 shows: contracts without health weeks
Shows produced in the San Francisco Bay Area use a ton of different union contracts, ranging from the Modified Bay Area Theater (MBAT) contract through the League of Resident Theaters (LORT) contract. Rather than break shows down by specific contract, it seemed like it would be easier to look at contracts that provide 'health weeks' and contracts that don't.
In order to qualify for Equity health insurance, an actor needs to have worked at theaters that offer 'health weeks' as part of their contract. To get six months of health insurance, an actor needs to work 12 weeks out of the previous year, and to get a year of health insurance, an actor needs to work 20 weeks out of the previous year.
Today's post focuses on theaters that use contracts without health weeks.
There were 11 shows (11% of total) that fit this category.
Those shows had:
2 male directors, 9 female directors (18% and 82%)
5 male writers, 7 female writers (42% and 58%)
87 total actors
46 men and 41 women (53% and 47%)
16 union actors and 71 non union actors (18% and 82%)
11 union men and 5 union women (69% and 31%)
85 local actors and 2 non-local actors (98% and 2% of total actors, or 13% of union actors were non-local)
These shows were:
TheatreFirst & Bootstrap Foundation/Hanging Georgia
Hapgood/Imaginary Love and Cherry Orchard
Custom Made/The Book of Liz
Crowded Fire/Sticky Time and Exit Pursued by a Bear
Shakespeare's Associates (Livermore Shakes)/Lend me a Tenor and Macbeth
Julia Morgan Project/Becoming Julia Morgan
City Lights/August:Osage County
AlterTheater/A Man, His Wife and Her Hat
In order to qualify for Equity health insurance, an actor needs to have worked at theaters that offer 'health weeks' as part of their contract. To get six months of health insurance, an actor needs to work 12 weeks out of the previous year, and to get a year of health insurance, an actor needs to work 20 weeks out of the previous year.
Today's post focuses on theaters that use contracts without health weeks.
There were 11 shows (11% of total) that fit this category.
Those shows had:
2 male directors, 9 female directors (18% and 82%)
5 male writers, 7 female writers (42% and 58%)
87 total actors
46 men and 41 women (53% and 47%)
16 union actors and 71 non union actors (18% and 82%)
11 union men and 5 union women (69% and 31%)
85 local actors and 2 non-local actors (98% and 2% of total actors, or 13% of union actors were non-local)
These shows were:
TheatreFirst & Bootstrap Foundation/Hanging Georgia
Hapgood/Imaginary Love and Cherry Orchard
Custom Made/The Book of Liz
Crowded Fire/Sticky Time and Exit Pursued by a Bear
Shakespeare's Associates (Livermore Shakes)/Lend me a Tenor and Macbeth
Julia Morgan Project/Becoming Julia Morgan
City Lights/August:Osage County
AlterTheater/A Man, His Wife and Her Hat
Wednesday, March 14, 2012
Counting Actors: the first 100 shows BAPP only
In this post, I'm looking at the subset of Counting Actors data that features shows on the Bay Area Project Policy (or BAPP). This Equity Code (not contract), "is primarily intended to give members of Actors' Equity Association the opportunity to present themselves as Actors and Stage Managers in limited run, low budget productions, as a showcase. Additionally, the BAPP may be used to provide short-term assistance to low budget Producers who demonstrate a commitment and an ability to develop into Equity contract
theatres." (from actorsequity.org)
In other words, the BAPP allows producers to hire Equity members at a stipend only rate, provided they meet a list of conditions as laid out by Equity.
There were 8 BAPP shows in the first 100 (or 8%)
These 8 shows had:
3 male directors, 5 female directors (38% and 62%)
5 male writers, 3 female writers (62% and 38%)
48 total actors
25 male actors, 23 female actors (52% and 48%)
18 total union actors, 30 total non-union actors (38% and 62%)
10 male union actors, 8 female union actors (55% and 45%)
All actors were local actors
The shows and companies were:
Just Theater/Down and Little Dirt Road and The Internationalist
The Aluminous Collective/Blackbird
Sleepwalkers/The Nature Line
Parker Street Odditorium and Dirty Swan Projects Presents/QuatreVingtQuatre
Tides Theater/Waiting for Godot
Dragon Productions/Streetcar Named Desire
Symmetry Theater/Patience Worth
theatres." (from actorsequity.org)
In other words, the BAPP allows producers to hire Equity members at a stipend only rate, provided they meet a list of conditions as laid out by Equity.
There were 8 BAPP shows in the first 100 (or 8%)
These 8 shows had:
3 male directors, 5 female directors (38% and 62%)
5 male writers, 3 female writers (62% and 38%)
48 total actors
25 male actors, 23 female actors (52% and 48%)
18 total union actors, 30 total non-union actors (38% and 62%)
10 male union actors, 8 female union actors (55% and 45%)
All actors were local actors
The shows and companies were:
Just Theater/Down and Little Dirt Road and The Internationalist
The Aluminous Collective/Blackbird
Sleepwalkers/The Nature Line
Parker Street Odditorium and Dirty Swan Projects Presents/QuatreVingtQuatre
Tides Theater/Waiting for Godot
Dragon Productions/Streetcar Named Desire
Symmetry Theater/Patience Worth
Tuesday, March 13, 2012
Counting Actors: the first 100 shows non-union only
This post is the first in a series that will break the first 100 shows of the Counting Actors project down by a few levels of Equity contract or code.
There are 28 shows from the project (or 28%) that have no union members in them at all.
These 28 shows had:
15 male directors, 16 female directors (48% and 52%)
21 male writers, 10 female writers (68% and 32%)
186 total actors (an average cast of 6.6 actors per show)
93 men, and 93 women (exactly 50/50)
All of these actors were local actors.
The non-union shows/companies are:
Theatre Rhino/Two Character Play
Palo Alto Players/Give 'em Hell Harry and Parade
Custom Made/The Effect of Gamma Rays on Man in the Moon Marigolds, The Underpants and Little Brother
Town Hall/Picasso at the Lapin Agile
Pear Avenue Theatre/Fifth of July and Mauritius
Bay Area Children's Theater/Circus Adventure and The Magic School Bus, Live! Climate Challenge
CounterPulse/Hold Me Closer, Tiny Dionysus
Cutting Ball/Tontlawald, Pelleus and Melisande
No Nude Men/Ladies in Waiting
Impact/Chalk Boy, Of Dice and Men, Dissassembly, Titus Andronicus, Working for the Mouse
Expression Productions/True West
Dragon Productions/Sister Cities
Ianir Productions/Abigail Dreary
Wily West/Peaches En Regalia
Virago/A Taste of Honey
Ragged Wing/Open
Off Broadway West/Indulgences in a Louisville Harem
New Conservatory/The Pride
There are 28 shows from the project (or 28%) that have no union members in them at all.
These 28 shows had:
15 male directors, 16 female directors (48% and 52%)
21 male writers, 10 female writers (68% and 32%)
186 total actors (an average cast of 6.6 actors per show)
93 men, and 93 women (exactly 50/50)
All of these actors were local actors.
The non-union shows/companies are:
Theatre Rhino/Two Character Play
Palo Alto Players/Give 'em Hell Harry and Parade
Custom Made/The Effect of Gamma Rays on Man in the Moon Marigolds, The Underpants and Little Brother
Town Hall/Picasso at the Lapin Agile
Pear Avenue Theatre/Fifth of July and Mauritius
Bay Area Children's Theater/Circus Adventure and The Magic School Bus, Live! Climate Challenge
CounterPulse/Hold Me Closer, Tiny Dionysus
Cutting Ball/Tontlawald, Pelleus and Melisande
No Nude Men/Ladies in Waiting
Impact/Chalk Boy, Of Dice and Men, Dissassembly, Titus Andronicus, Working for the Mouse
Expression Productions/True West
Dragon Productions/Sister Cities
Ianir Productions/Abigail Dreary
Wily West/Peaches En Regalia
Virago/A Taste of Honey
Ragged Wing/Open
Off Broadway West/Indulgences in a Louisville Harem
New Conservatory/The Pride
Sunday, March 11, 2012
Counting Actors: the first 100 shows writers+gender+time stats
If you'll recall from the previous post w/stats from the first 100 plays, there are a total of 84 male writers and 30 female writers of the first 100 shows (or 74% male writers, 26% female writers). Also, this figure is higher than 100 because some shows had multiple writers (either multiple plays on the bill, or collaborations, or in the case of musicals, I lumped music, lyrics and book writers into the category of 'writer')
The gender imbalance for writers was the highest imbalance I saw. And after a conversation with some folks who do literary manager and artistic director type jobs, I was inspired to take a closer look at how the gender imbalance changes over time. So, I've taken the first 100 shows and focused on when the play was written.
I'm going to call shows written before 1960 classic, and shows written since 1960 I'm going to call contemporary. Within the shows written since 1960, I'm going to call shows written since 2000 new.
Of the 100 shows, 18 fall into the classic category, and 82 fall into the contemporary category. Within the contemporary group, 66 shows were new. And, because we're looking at total numbers out of 100, the percentages are the same 18%, 82% and 66% respectively.
The classic shows had 19 writers total (one of the classics is Berkeley Playhouse's Pirates of Penzance, so the double count is for Mr. G and Mr. S). There were 18 male writers, and 1 female (Shelagh Delaney's Taste of Honey, written in 1958). Percentage wise, this is 95% male, 5% female.
For the 82 contemporary shows, I counted 95 writers, and some projects, like Complete Works of William Shakespeare Abridged at Marin Shakespeare Festival, had up to 3 credited writers, while other shows, such as No Nude Men's Ladies in Waiting, featured multiple shorter pieces, each with their own writer, and there are a few musicals thrown in there as well. Of the 95 writers, 66 were men and 29 were women or 69% and 31% respectively.
Within the 82 contemporary shows, I counted 66 new shows all written since 2000. I pulled this group out of the whole because I hadn't kept track of world premieres or regional premieres, and looking up what had been written since 2000 was a little faster than trying to go back and figure out what was a world premiere or regional premiere.
The new shows had 78 total writers: 50 men and 28 women. This is 64% men and 36% women.
I'm still working on teasing out this data in regards to types of union contract, so stay tuned for more info.
Please share this post with your friends and colleagues, and tell them about the project. Info how to report show stats going forward is here.
Wednesday, March 7, 2012
Counting Actors: the first 100 shows General Stats
The first 100 shows from Counting Actors had:
50 male directors, 53 female directors (this # is above 100 because some shows had co-directors)
84 male writers, 30 female writers (this # is above 100 because of writing collaborations, but because I was also counting lyrics writers and composers in this category)
So 49% of the directors were men, and 51% were women. 74% of the writers were men and 26% were women.
There were 730 actors in those 100 plays, for an average cast size of 7.3. The largest cast had 42 actors (Seussical at Berkeley Playhouse - a cast that included a union contract, but also 27 cast members who were under 18 and enrolled in a class). On the other end of the spectrum, there are four 1 person shows in the count. Those actors include 406 men and 324 women (56%, 44%), 255 union members and 475 non-union members (35%, 65%) , and 661 locals and 69 non-locals (91%, 9%).
Of the union actors, 154 were men and 101 were women (60%, 40%). While I didn't explicitly ask it in the questions list, it looks like only one of the non-locals was non-union, so of the union members working, 27% were non local.
I'm planning a few more posts using the first one hundred shows. Based on recent discussions w/smart friends and colleagues, I'd like to see how the writer gender situation looks if when the play was written is taken into account. Also, I plan to look more closely at the contract issue - how many shows were on a BAPP vs. higher level contracts, and again see how things look for the actor gender question and the local/non-local issue.
I may come up with some other questions in the next few days, but I'm wondering if you have questions that you think the data can answer. If so, post them in the comments, and I'll see what I can do!
For an explanation of the project, as well as links to the stats on a monthly basis, go here.
And, if you've read this far, I'd really appreciate a link, status update, tweet, + or live conversation with your friends, and artistic associates about this data.
Thanks again to all who've contributed information to this project.
50 male directors, 53 female directors (this # is above 100 because some shows had co-directors)
84 male writers, 30 female writers (this # is above 100 because of writing collaborations, but because I was also counting lyrics writers and composers in this category)
So 49% of the directors were men, and 51% were women. 74% of the writers were men and 26% were women.
There were 730 actors in those 100 plays, for an average cast size of 7.3. The largest cast had 42 actors (Seussical at Berkeley Playhouse - a cast that included a union contract, but also 27 cast members who were under 18 and enrolled in a class). On the other end of the spectrum, there are four 1 person shows in the count. Those actors include 406 men and 324 women (56%, 44%), 255 union members and 475 non-union members (35%, 65%) , and 661 locals and 69 non-locals (91%, 9%).
Of the union actors, 154 were men and 101 were women (60%, 40%). While I didn't explicitly ask it in the questions list, it looks like only one of the non-locals was non-union, so of the union members working, 27% were non local.
I'm planning a few more posts using the first one hundred shows. Based on recent discussions w/smart friends and colleagues, I'd like to see how the writer gender situation looks if when the play was written is taken into account. Also, I plan to look more closely at the contract issue - how many shows were on a BAPP vs. higher level contracts, and again see how things look for the actor gender question and the local/non-local issue.
I may come up with some other questions in the next few days, but I'm wondering if you have questions that you think the data can answer. If so, post them in the comments, and I'll see what I can do!
For an explanation of the project, as well as links to the stats on a monthly basis, go here.
And, if you've read this far, I'd really appreciate a link, status update, tweet, + or live conversation with your friends, and artistic associates about this data.
Thanks again to all who've contributed information to this project.
Subscribe to:
Posts (Atom)