Agreement for

West End Theatre Artists

(including Performers,
Stage Management,
Booth Singers
and Supernumeraries)

From April 2019

Version as of August 2019

CO NTE NTS CONTE NTS

Contents Programme . . . . . . . . . . . . . . . . . . . . . . . . . .
Disciplinary and Grievance Procedures . . . . . . . . . . . .
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25
26
(see Appendix 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Manager’s Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Collective Agreement
No Reduction in Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Scope of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Director’s Duties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Equal Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Notifications to Equity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Duration of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Insurance of Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Health & Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Tax and National Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Financial Provisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Prosecution of Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Schedule 1 – Definitions Scripts and Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Definitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Schedule 2 – All Artists Rehearsals Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Contract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Family Friendly Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Employment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Maternity Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Start and Continuity of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Parental Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Touring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Time Off for Dependents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Extra Contractual Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Paternity Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Exclusive Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Adoption Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Non-availabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Compassionate Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Transfers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Redundancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Force Majeure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Artist’s Responsibilities (Address and Public Statements) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Broken Weeks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Artist’s Duties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Short Run Guarantee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Performance & Undertaking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Failure to Produce. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Attendance at Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Reduction in Artist Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Preparation for Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Contract Renewal Notice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Partial Weeks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Notification of Absence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Schedule 3 – Actors & Stage Managers Only
Applicable Minimums for Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Pension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Temporary Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Incapacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Changes to Theatre Capacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Hours of Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Payment of Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Breaks (also see separate Schedules) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
VAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Sunday Performances (also see separate Schedules) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Hours of Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Additional Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Sunday Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Periods of Flexible Scheduling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Billing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Christmas Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 EPKs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Other than Christmas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Other Recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Annual Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Cast Albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Public Holidays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Background and Audio-Visual Recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Allowances & Expenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Archival Recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Curtain Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Late Hours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Schedule 4 – Performers Only
Non-availability of public transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Press, publicity & promotional calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Costumes, Make up & Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Press, Publicity & Promotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Publicity (General, Photographs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Termination Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Other Provisions (Nudity, Flying) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Suspension of Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
General Provisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Schedule 5 – Actors Only
Limited Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Equity Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Salaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Complaints or Claims. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Hours of Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Notification of Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Overtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Cancellation of Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Payment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Work Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Version as of August 2019 Version as of August 2019 1

CO NTE NTS AGRE EM ENT

Schedule 6 – Stage Management Only THIS AGREEMENT is made on 10 May 2019 between Society of London  Theatre
Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 (“SOLT”) and Equity (“Equity”).
Staffing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Minimum Salaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Hours of Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 It is agreed as follows:
Overtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Other Provisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
A ScOpE OF AGREEMENT
Extra Services eg: Prompt Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 1 In this agreement, “this Agreement” means this agreement and its schedules (the “Schedules”,
Work for Other Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 as defined in clause A2). The Schedules set out the minimum terms and conditions which shall
Blacks / Appearance on Stage in Costume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 be observed by members of SOLT for the employment of performers (including
Dressing Rooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 supernumeraries, booth singers, swings and understudies), stage management and certain
Betterment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 supervisory staff (hereinafter individually called “the Artist”) for theatrical Performances at West
Schedule 7 – Covers Only End theatres and for pre-West End and post-West End tours thereof for the maximum periods
Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 set out in the said Schedules.
Rehearsal ....... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Completion of Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
2 In this Agreement, “Schedule” means one of the schedules numbered 1 to 12 to this Agreement
Order. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 as listed below:
Billing and Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Schedule 11 Definitions
Audience Notification of Cast changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Schedule 12 Minimum Terms and Conditions applying to all Artists
Replacement of a Leading Performer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Schedule 13 Minimum Terms and Conditions applying to Actors and
Schedule 8 – Actor-Musicians Stage Managers Only
Salaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Schedule 14 Minimum Terms and Conditions applying to Performers Only
Covering and Understudies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Instrument Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Schedule 15 Minimum Terms and Conditions applying to Actors Only
Transportation of Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Schedule 16 Minimum Terms and Conditions applying to Stage Management Only
Best Practice conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Schedule 9 – Special Categories Schedule 17 Minimum Terms and Conditions applying to Covers Only
Booth Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Schedule 18 Minimum Terms and Conditions applying to Actor-Musicians only
Supernumeraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Dance Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Schedule 19 Minimum Terms and Conditions applying to Special Categories of Artist Only
Actors with Stage Management Duties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Schedule 10 The Theatre Council Registration and Arbitration
Performers Under Age of 16 (Minors) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Schedule 11 Nudity and Simulated Sex Acts
Schedule 10 – The Theatre Council
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Schedule 12 Family Shows
Arbitration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Schedule 11 – Nudity & Simulated Sex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 3 In this Agreement “Appendix” means one of the Appendices numbered 1 to 9 to the Agreement
Schedule 12 – Family Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
as listed below:
Appendix 1 – Disciplinary and Grievance Procedures Appendix 1 Disciplinary and Grievance Procedures
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Appendix 2 Code of Conduct for Auditions
Disciplinary & Grievance Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Sanctions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Appendix 3 Guidelines for the Use of Rakes in Theatrical Productions
Appeals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Appendix 4 Excerpt of the Standard Contract
Appendix 2 – Code of Conduct for Auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Appendix 5 Guidelines for Publicity and Promotional Activity
Appendix 3 – Raked Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Appendix 6 Artist’s Schedule of Professional Conduct
Appendix 4 – Excerpt of the Sample Standard Contract . . . . . . . . . . . . . . . . . . . . . . 76
Appendix 7 Rates of Pay
Appendix 5 – Guidelines for Publicity and Promotional Activity . . . . . . . . . . . . . . . . 78
Appendix 8 Rates of Pay for Actor-Musicians
Appendix 6 – Artist’s Schedule of Professional Conduct . . . . . . . . . . . . . . . . . . . . . . 79
Appendix 7 – Rates of Pay for 8 Performances Per Week . . . . . . . . . . . . . . . . . . . . 82 Appendix 9 Rates of Pay for 12 Performances per Week
Appendix 8 – Rates of Pay for Actor-Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Appendix 9 – Rates of Pay for 12 Performances Per Week . . . . . . . . . . . . . . . . . . . . 92
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 The Appendices do not form part of this Agreement.
Summary of Main Changes to the 2019/23 Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

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AGRE EMENT AGRE EM ENT

1
4 SOLT agrees that it shall be the policy of Managers, so far as is reasonably practicable, to offer 1 ScHEDuLE 1 – DEFINITIONS
employment only to artists other than Supernumeraries who are experienced professionals. 1.1 Definitions
Actor A Performer who is neither a Booth Singer nor a Supernumerary. This term
5 In this Agreement, a reference to a “clause”, unless the context otherwise requires, is a reference encompasses singers and dancers in addition to actors.
to a clause of this Agreement.
Actor-Musician An Actor who performs and plays one or more musical instruments during
B EquAL OppORTuNITIES a substantial part of the Performance.
The parties to the Agreement acknowledge their respective roles to maintain equality of Agreement As defined in clause A1.
employment opportunity, and promote equal treatment, as defined within the Equality Act Agent The Artist’s nominated representative who may act on the Artist’s behalf.
2010. This is with particular regard to defined protected characteristics, including age, disability,
Alternate An Actor who plays certain Performances in place of the Principal other than
gender reassignment, marriage and civil partnership, pregnancy and maternity, race, religion
as a Cover. Where an Alternate is engaged they and the Principal will normally
and belief, sex and sexual orientation.
only be engaged for a reduced number of Performances a Week.
Beyond this, the parties will seek to extend boundaries, by the promotion of non-traditional Appendix As defined in clause A3.
casting and integrated casting, and by increasing opportunities for disabled artists. Applicable The minimum Salary for the Artist as set out in clause 2.3.1.
Minimum Salary
c DuRATION OF AGREEMENT Artist The generic term for anyone engaged under this Agreement.
1 This Agreement shall commence with effect from the Implementation Date and shall subsist
until terminated on or after 2 April 2023 by either party giving to the other not less than 12 Artist’s Schedule The Performance Schedule for which an individual Artist is contracted
calendar months’ prior written notice, accompanied by detailed proposals for its revision. expressed as a percentage. By way of example an Actor playing a Leading
Role who plays only 6 of the 8 Performance a Week would have a 75%
2 This Agreement and any document referred to in this Agreement constitute the entire Artist’s Schedule and their Alternate a 25% Artist’s Schedule.
agreement and supersede the Old Agreement. Artist’s Week The number of days in the Week that the Artist on the Artist’s Schedule
normally works.
D IMpLEMENTATION Average Salary The Artist’s Salary plus any additional payments made in accordance with the
1 This Agreement shall apply to all Contracts subsisting at or entered into on or after the Artist’s Contract, averaged over the previous twelve Weeks (or the number of
Implementation Date. Weeks of the engagement to date if shorter). The calculation shall be made
immediately prior to the date to which it will apply. If the Artist receives no
E INTERpRETATION Salary, or less than Basic Salary due to authorised leave, in one or more of
1 For the purposes of this Agreement, where the context so requires, the masculine gender those twelve Weeks, the Salary earned in the relevant number of Weeks
includes the feminine and the singular the plural and vice versa. immediately prior to the twelve-Week period is to be taken into account.
Examples of authorised leave include illness or injury, annual holiday and leave
2 Throughout this Agreement where a capitalised word is used in the text it shall have the under Family Friendly Provisions of clauses 2.15.11 to 2.15.16.
meaning as set out in clause 1.1.
Base Salary The minimum Weekly Salary applicable to a given Production Capacity.
F FINANcIAL pROvISIONS Basic Salary The contracted Salary together with any guaranteed payments including
1 The Financial Provisions for 2019-2023 shall be as laid out in Appendices 7, 8 and 9. Understudy Responsibility Payments, Dance Captain or Swing payments
but excluding overtime, Public Holiday and Understudy Performance Payments.
Booth Singer A Performer engaged solely to perform vocally and not to appear on stage.
Broken Week Any Artist’s Week that is shorter than their usual Week for reasons other than
For and on behalf of SOLT ____________________________________________________________
Periods of Flexible Scheduling, incapacity, leave due to holiday or leave under
Julian Bird, Chief Executive, SOLT
Family Friendly Provisions of clauses 2.15.11 to 2.15.16.
Call A period of time consisting of Hours of Work for which the Artist is called by
the Manager.
For and on behalf of Equity ____________________________________________________________ Category A A theatre having a Production Capacity of 1,100 or more.
Christine Payne, General Secretary, Equity Category B A theatre having a Production Capacity of between 800 and 1099.
Category C A theatre having a Production Capacity of less than (and including) 799.
Christmas Period The three-Week period commencing with the Week prior to the Week in
which Christmas Day falls.

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Commercial Theatre The contract and terms relating to the UK Theatre/Equity Commercial Theatre Half 35 minutes before advertised curtain up.
Agreement Agreement currently in operation. Hours Of Work Attendance for work as called by the Manager including, but not limited to
Company Manager Senior representative of the Manager usually present at Performances. Performances, rehearsals, fittings, photographs, press, publicity, recording
The duties of Company Manager may be combined with the duties of Calls, compulsory warm-ups and travel time between Calls at different
Stage Manager. venues. For the avoidance of doubt, the Artist’s travel time from home to a
Contract The Standard Contract together with any addenda or riders thereto as signed Call shall not count as Hours of Work.
by the Artist and the Manager. Implementation Date 8 April 2019.
Cover An Actor who may take the place of another due to illness injury etc. A Cover Incapacity Salary The Actor’s or member of Stage Management’s Salary capped at double
may have a Part in addition to being a Cover. “Covered” and “Covering” shall the Applicable Minimum Salary.
be interpreted accordingly. Incapacity Salary The period for which the Actor or member of the Stage Management is
Dance Captain The senior member of the Ensemble or any other member of the company Period entitled to Incapacity Salary as set out in clause 3.2.4.
who may be required to take or oversee rehearsals or replacement routines Leading Role A substantial Role which – in terms of quantity – is essential to the narrative
– also sometimes known as head boy or head girl. of the drama. There would not normally be more than 2 or 3 Leading Roles
Dignity at A policy to enshrine the right to be valued and respected at work and to be in any one Production.
Work Policy treated ethically. Lieu Day A day declared by the government as a public or bank holiday in lieu of either
Emergency An unexpected and sudden event that requires urgent measures to be taken 26th December or 1st January.
that might not otherwise be appropriate under this Agreement. Making Of A documentary about the making of the Production itself.
Entertainer An Artist who is treated as being self-employed for tax and national insurance Documentary
contributions purposes. A stage manager for these purposes means a Manager The person, company or authorised representative of the person or company
company and stage manager (dual role), stage manager, DSM or ASM who entering into a contract with an Artist.
is engaged on a Standard Contract which includes a clause by which the
individual may be required to carry out stage management duties in a Meal Allowance A fixed sum to compensate an Artist for meal costs.
performance on stage, in costume or in blacks subject to the stage manager Minimum Salary The Artist’s Salary before it has been prorated as necessary on the basis of
being engaged for no longer than the run of a production or a short fixed the Artist’s Schedule to arrive at the Artist’s Applicable Minimum Salary. The
period and the contractual requirement to appear on stage not being Minimum Performance Salary and the Minimum Rehearsal Salary shall be
overridden by agreement or through custom or practice. Please note that interpreted accordingly.
Artists on permanent or long-term engagements are not Entertainers and an Minor or Crowd Role A Role without scripted lines.
Artist engaged solely as a company manager is not an Entertainer.
Narrowcast A limited distribution of recorded material as distinct from broadcast and
Ensemble A Part that is substantially similar to other Parts. An Ensemble Part may with the meaning usually attributed to such terms in the broadcast industry
include up to three Features. Note that this is distinct from the use of the word including but not limited to: Tradeshows (domestic and international); Group
as in “ensemble theatre”. Sales Presentations; Ticket Sales sites; Ticket Booths; Travel Agent Displays;
EPK An Electronic Press Kit. In Flight videos (including airport videos); In house hotel Videos; Tour bus
Equity Deputy An Artist engaged on the Production who is elected by the other Artists on Videos; Taxis; Underground station escalators; Footage on outdoor sites;
the production to deal with day-to-day Equity matters. Exhibition Stands; Sequences of no longer than 1 minute streamed on the
main show website, affiliate sites, and ticketing outlets’ websites; Visit
Extra Feature A negotiated sum payable to an Ensemble member who has more than three London/Britain promotional activities (domestic and overseas); Main line
Features in their Part over the rate paid to members of the Ensemble with station screens; Promotional DVD – where given away free to promote the
three or fewer Features. show; Mobile digital media (Bluetooth, mobile phone texting, downloads
Family Show Any Production whose primary audience includes children. etc.). “Narrowcasting” shall be interpreted accordingly.
Feature Where a member of the Ensemble undertakes a solo requiring special Nominated Rest Day The day within each Week when the Artist is free from all Calls and conseq-
rehearsal or skills which could not necessarily be undertaken by any uently the day on which any Call will be subject to additional payment and
Ensemble member. The Feature may appear in a number of different scenes compensatory time off.
but is smaller than a Supporting Role. It may incorporate part of a song, a Not Less Than When used in connection with sums of money payable by the Manager, the
short solo dance or a few lines of speech. sum prefaced by the expression “Not Less Than” shall be payable unless a
Final Understudy The last rehearsal for an understudy before they are considered by the higher sum shall have been negotiated between the parties prior to the
Rehearsal Manager to be ready to perform in a Performance. signature of the Contract.
Financial Provisions The variable sums of money set out in Appendices 7, 8 and 9. NVAP National Video Archive of Performance.

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Old Agreement The Agreement for West End Performers and Stage Management between Public Holiday Christmas Day, Boxing Day, New Year’s Day, Good Friday, Easter Monday,
the parties dated 1st April 2013. May Day, Spring Bank Holiday, Summer Bank Holiday, or such public or
Option Arrangement An agreement in writing between the Manager and the Artist whereby the bank holidays as may be declared by the government in lieu of any of these
Manager has first call on the services of the Artist with agreed financial terms days, and such public or bank holidays as may be declared by the
for the presentation of the Production, to be exercised no later than a government in addition to any of these days.
mutually agreed date. Rehearsal Period The time between the beginning of an Artist’s contract and the Artist’s first
Part The duties undertaken by an Actor who is not a Cover. This can comprise Performance.
one or more named characters, a track of small chorus appearances or Rehearsal Salary The Weekly sum stated in the Artist’s Contract which applies during the
some combination of these. Rehearsal Salary Period.
Per Performance For Artists with a 100% Artist’s Schedule, the Artist’s Performance Salary Rehearsal Salary The initial Rehearsal Period of up to 5 Weeks for a play or 7 Weeks for a
Salary divided by the Performance Schedule. For others the Artist’s Performance Period musical.
Salary divided by the Performance Schedule and multiplied by Artist’s Role A Part that is substantially different from other Parts.
Schedule percentage.
Salary A general term meaning the Rehearsal Salary or the Performance Salary as
Performance A presentation of the Production given before a paying audience. appropriate to the time in question.
Performance Call The time at which an Artist is called by the Manager to attend for a Schedule As defined in clause A2.
Performance. This will allow time for any necessary warm-up or pre-show
activity and may vary according to performer. In the absence of any Call to Stage Management Subset of Artist for members of the Stage Management – including Stage
the contrary this is taken to be the “Half”. Managers, Deputy Stage Managers and Assistant Stage Managers and any
similarly titled roles. For the avoidance of doubt, it does not include Company
Performance Period The time between the Artist’s first Performance and the end of the Artist’s Managers.
Contract.
Standard Contract The standard form contract under this Agreement as approved from time to
Performance Salary The Weekly sum stated in the Artist’s Contract which applies after the time by The Theatre Council, a sample extract of which is set out in Appendix
Rehearsal Salary Period ends. A4. For the avoidance of doubt the Standard Contract excludes any addenda
Performance Schedule The number of performances regularly played by a Production for an or rider.
individual Artist. In this context occasional additional or missing Performances Supernumerary A Performer engaged as a background Artist who does not speak individual
do not affect this figure. To be read in conjunction with Artist’s Schedule. lines or employ specific singing or dancing skills.
Performance Time The timing of the Performance for the purpose of calculating hours worked Supporting Role A Role which is neither a Leading Role nor Ensemble.
by Actors. It begins at the Actor’s Performance Call and runs continuously
until 15 minutes after curtain down (30 minutes where heavy or body make- Swing A Cover for Ensemble or Chorus.
up is worn). Theatre Management The person or company owning or controlling the theatre at which the
Performer An Artist who is not a member of the Stage Management. Production takes place.

Periods of Periods within the duration of the Contract when the Manager may Understudy A Cover for a Role.
Flexible Scheduling reschedule Performances across a specified number of weeks subject to Understudy A Performance by an Understudy of a Role they Cover.
certain conditions. Performance
Place of Work The location where an Artist is called to work. Understudy A payment made to an Artist for each Understudy Performance. Eligibility for
Play A theatrical performance which may include plays, musicals or revues. Performance Understudy Performance Payments varies with the duties of the Artist, the
Payment Role Covered and may also be subject to a cap. See clauses 7.1.1.5.1,
Press Night The main Performance to which the press are invited, sometimes known as 7.1.1.5.3, 7.1.1.5.5, 7.1.2.1 and 7.1.5.2.
the first night or opening night.
Understudy The additional responsibility that an Artist may have for learning and
Press, Publicity Marketing and/or press and/or promotional activity arranged by the Manager Responsibility maintaining a Cover Role and being ready to perform it when required by the
and Promotion with the intent of increasing public awareness of the Production. Manager.
Preview Period All Performances given before the Press Night. Understudy A Weekly payment made to an Artist for each Understudy Responsibility.
Production The version of the play named in the Artist’s Contract presented under that Responsibility Eligibility for Understudy Responsibility Payment varies with the duties of the
Contract. It does not include versions of the play presented under any other Payment Artist and the Role Covered. See clauses 7.1.1.5, 7.1.2.1 and 7.1.5.2.
contract. Walking Understudy An Understudy who does not appear in the Production other than when
Production Capacity The total number of seats available for sale to the public at each Performance performing their Understudy Part.
of a particular production. Used to determine the appropriate Category. Week A period of 7 days commencing on a Monday.

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West End The collective term as it is commonly understood for the theatres which 2 ScHEDuLE 2 – MINIMuM TERMS AND cONDITIONS AppLyING TO ALL ARTISTS
constitute London’s main performance houses. 2.1 contract
1 West End The weekly allowance due to Artists whose home address as on their 2.1.1 The Manager shall issue a Standard Contract to any Artist engaged to work under 2
Relocation Rate Contract is 60 miles or more from Charing Cross, subject to provisions of this Agreement.
clause 2.9.3.
2.1.2 Any addendum or rider which forms a part of the Contract shall not worsen the overall
Working Time The Working Time Regulations 1998 as from time to time amended. position of the Artist over the period of the engagement from that provided for in this
Regulations Agreement or the Standard Contract. Where an element of contractual entitlement
52 weeks A full calendar year to include any year which may have 53 weeks. is bought out for an enhanced sum, the addendum or rider shall clearly state what is
included in such buy out. For the avoidance of doubt, holiday pay cannot be included
in the buy-out and must be paid in addition to basic pay.

2.1.3 Where reasonably practicable the Manager shall issue the Contract to the Artist not
less than one week before the Artist’s first rehearsal day and the Artist shall return the
Contract to the Manager within one week of receiving it.

2.1.4 The Standard Contract in its entirety is mandatory save where its provisions are varied
by an addendum or rider which complies with clause 2.1.2.

2.1.5 There shall be 2 copies of the Contract signed by the parties thereto, one to be
retained by the Manager, one to be retained by the Artist and/or the Agent. If the
Artist has elected that a further copy should be sent to Equity then the Manager shall
supply a full copy of the completed Contract to the Artist.

2.1.6 The Manager shall ensure that a copy of this Agreement is displayed on the notice
board at each place of rehearsal or Performance, or shall make available a copy to
the Equity Deputy.

2.1.7 The provisions of clause 2.1.1 shall not apply in the case of an Artist already engaged
under a Commercial Theatre Agreement for a tour which subsists before and after the
West End dates, provided that such employment does not constitute touring under
clause 2.2.2, and the Artist shall continue to be engaged under the terms and
conditions of the Commercial Theatre Agreement subject to them being paid Not
Less Than the Applicable Minimum Salary.

2.1.8 All Managers will have a Dignity at Work Policy which they will inform the Artist about
at the point of contracting and will make it available to the Artist.

2.1.9 Where possible, the Manager will furnish the Artist with their social media policy at the
point of contracting.

2.2 Employment
2.2.1 Start and continuity of Employment
2.2.1.1 Employment shall begin, subject to clause 2.2.1.2, on the day set out in
the Artist’s Contract and shall be continuous until its termination in
accordance with the Contract or this Agreement.

2.2.1.2 In the event that the Manager delays the start date for up to 7 days as
permitted in the Contract then the later date shall be taken as the start of
the employment.

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2.2.1.3 The term of the Artist’s engagement will be designated in the Artist’s 2.2.3 Extra-contractual Work for the Manager eg costume Fittings or pre-Rehearsal
Contract as one of the following: 2.2.3.1 Any Call which the Artist agrees to attend before or after the term of this
2 2.2.1.3.1 ‘Run of Show with reciprocal notice’ – the engagement Contract shall entitle the Artist to additional payment or expenses and 2
shall be for the duration of the Production, subject to earlier such extra-contractual work shall not thereby constitute the beginning of
termination by either party giving the other not less than 4 employment nor accrue to the total period of employment.
Weeks' notice in writing, such notice to expire at the end of
the fifty-second Week from the Artist's first Performance. In 2.2.3.2 In the case of a pre-rehearsal read-through the Artist shall be paid one-
the event of the termination of the run of the Production, the sixth of their Rehearsal Salary.
Manager shall give the Artist 2 Weeks' notice of the
termination, such notice to expire at the end of a Week, or 2.2.3.3 In the case of costume / wig fittings the Manager shall pay the Artist the
pay the Artist 2 Weeks' Salary in lieu of notice. greater of £25 or the cost of standard-class rail or London Transport fares
the Artist may have incurred, to be included in the first week of Rehearsal
2.2.1.3.2 ‘4 Weeks’ Notice’ – The engagement shall be for the run of Period salary.
the Production until the engagement is terminated by either
party giving the other not less than 4 Weeks' prior notice in 2.2.3.4 In the case of Stage Management a payment of one-sixth of Salary and
writing to expire at the end of a Week, such notice not to reasonable out-of-pocket expenses shall be paid for a working day of 8
be given until after the Artist's first Performance in the West hours or less for a maximum of 3 days in any week.
End of London.
2.2.4 Exclusive Services
2.2.1.3.3 ‘Run of Show with Fixed Term Provisions’ – The engagement The Artist is engaged exclusively by the Manager and (save in the case where the
shall be from a specified start date until a specified end date Artist may be performing at another theatre in the West End during the period of
(being not more than 52 Weeks for plays and 65 Weeks for rehearsal) the Artist shall not take any professional work (i.e. one involving the exercise
musicals) or until the termination of the run of the of their artistic talent) without the Manager’s written consent which shall not be
Production, whichever is the shorter, provided that the unreasonably withheld, provided that any such professional work undertaken by the
Manager shall give not less than 2 Weeks' notice of the Artist shall not prevent them from properly carrying out their duties under their
termination of the run. Contract.

2.2.1.4 Flexible working 2.2.5 Non-Availabilities of the Artist

The Manager will carefully and sympathetically consider any requests for If the Artist is not available on certain days of the Contract then this must be agreed
flexible working including job share and whether this could be by the Manager at the negotiation stage and the days specified in the Contract. The
accommodated according to the needs of the business. Manager shall offset such days against the Artist’s holiday entitlement unless it has
been agreed at the time of negotiation that the days are to be treated as extra-
2.2.2 Touring under this Agreement contractual, in which case one-twelfth of the Artist’s Salary shall be deducted for each
2.2.2.1 The Manager may require the Artist to tour a play under this Agreement partial day so missed and one-sixth of the Artist’s Salary for each whole day so missed.
prior to the first and/or after the last performance in the West End for a
total of eight weeks. 2.2.6 conditional Transfer From a non SOLT/Equity contract
Where the offer of a non-SOLT/Equity contract for a production is conditional on an
2.2.2.2 The Manager may require the Artist to tour a musical under this Artist either entering into a Contract under this Agreement or entering into an Option
Agreement prior to the first and/or after the last performance in the West Arrangement for such production:
End for a total of 12 weeks of which not more than 4 Weeks shall occur 2.2.6.1 If the Artist’s Performance Salary under this SOLT Contract is less than
after the last performance in the West End. £100 above the Artist’s Applicable Minimum Salary, the Manager shall
pay the Artist in respect of a maximum period of 3 Weeks (4 Weeks for
2.2.2.3 The duration of any post West End tour must be notified to the Artist musicals) a sum equal to the difference (if any) between the Artist’s
prior to the end of the West End run. Applicable Minimum Salary and the salary paid to the Artist for the
Rehearsal Period under the non-SOLT/Equity contract when the transfer
2.2.2.4 Following the close of the Production on a pre West End tour under this has actually taken place. Such sum shall be paid with the Salary for the
Agreement, the Production may return to a Rehearsal Salary Period of not first Week of the Contract; (For clarity, no such payment is due where the
more than 4 consecutive Weeks prior to opening in the West End. Any Artist’s Performance Salary under this SOLT Contract is £100 or more
additional Rehearsal Period and/or Broken Weeks shall be dealt with as above the Artist’s Applicable Minimum Salary).
though the Production was opening straight in the West End.

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2.2.6.2 if the Artist when engaged on a non-SOLT/Equity contract rehearses for 2.2.9.2 Clause 2.2.9.1 does not apply to Contracts of less than 6 Weeks, short
a West End Production after the opening of the non-West End Production, Contracts for temporary cast replacement, Cover or short seasons
2 the Manager shall pay the Artist Not Less Than one-sixth (1/6) of the Artist’s provided that the anticipated length of the run is made known to the Artist 2
Applicable Minimum Salary per day (or part thereof) of such rehearsal; at the time of engagement.

2.2.6.3 where an Artist has entered into a Contract under this Agreement or an 2.2.10 Failure to produce
option under an Option Arrangement has been exercised for such 2.2.10.1 If for any reason the Manager shall not produce the Production the
Production and the Production subsequently fails to open then the Manager shall pay to the Artist in satisfaction of all the claims under their
provisions of 2.2.10 will apply. Contract the following sums:
2.2.10.1.1 All payments accrued and due up to and including the day
2.2.7 Force Majeure upon which the Manager notifies the Artist of the
Except where the Manager does not suffer any loss of income, no Salary shall be abandonment of the Production;
payable for any period during which the Production is suspended due to royal
demise, national mourning, war, fire, strike, lock-out or the order of any licensing or 2.2.10.1.2 Subject to clause 2.2.10.2, a sum equal to 3 Weeks’
other public authority (as distinct from failure of a Theatre Management or the Performance Salary which shall increase to 5 Weeks if less
Manager to comply with such authority’s licensing requirements) or any cause beyond than 8 Weeks’ notice is given and to 6 Weeks if less than 4
the reasonable control of the Manager. Weeks’ notice is given;

In the case of the Production being so suspended for more than 7 days, the Manager 2.2.10.1.3 Subject to clause 2.2.10.2, where the Production is
may exercise one of the following options: abandoned after the start of the Rehearsal Period the Artist
2.2.7.1 terminate the Artist’s Contract. If the Artist is touring under clause 2.2.2 will receive not less than six Weeks’ Salary.
at the time, the Manager shall pay any due fares or allowances and the
Artist’s fare to the Artist’s home address and any applicable touring 2.2.10.2 The Artist’s Salary for the purposes of clauses 2.2.10.1.2 and 2.2.10.1.3
allowance; shall be capped at £1,600.00 and shall be reduced by such amount (if
any) as the Artist earns by way of mitigation, it being their responsibility
2.2.7.2 keep the Artist under contract for up to 4 Weeks by paying the Artist’s to use their best endeavours so to mitigate.
Applicable Minimum Salary;
2.2.11 Reduction in Numbers
2.2.7.3 keep the Artist under contract for any period beyond 4 Weeks by paying 2.2.11.1 Subject to clause 2.2.11.2 and other than when a Production transfers
the Artist Salary and any due allowances. to a smaller theatre (or, subject to Equity’s agreement, to any other West
End theatre), no reduction in the number of Artists shall be permitted at
2.2.8 Broken Weeks any time after the Press Night. Any such reduction must coincide with the
2.2.8.1 A Broken Week at the commencement or termination of the run shall be transfer and shall be subject to the minimum cover and minimum staffing
treated as a full Week, other than where travel back from a tour venue at requirements of the Covers and Stage Management Schedules
the end of the Contract is at the beginning of a Week, when the Artist shall (Schedules 6 and 7) (except where otherwise agreed with Equity).
receive one-sixth of their Salary for each such day, plus any applicable
contractual payments. 2.2.11.2 Clause 2.2.11.1 does not apply to the expiry of short contracts for additional
Artists specifically employed for a fixed period as, for example, additional
2.2.8.2 If the Week of the first Performance is a Broken Week the Artist shall be holiday Cover or additional Stage Management for a Rehearsal Period.
paid the Per Performance Salary for each Performance given and a pro-
rata fraction of the Rehearsal Salary for each Performance that would 2.2.12 contract Renewals
have been given in a normal Week of the Performance Schedule. Note The Manager shall endeavour to inform the Artist at least 4 Weeks’ before the expiry
also clause 5.3.2 which deals with Hours of Work for Actors during such of their contract whether the Contract is to be extended or renewed.
a Week.
2.2.13 Artists working partial Weeks
2.2.9 Short Run Guarantee Where an Artist is contracted to only work a partial working week (a working week
2.2.9.1 Subject to clauses 2.2.7, 2.2.9.2 and 2.2.10, the Manager shall pay the being the normal working week for the Production) and where another Artist is
Artist Not Less Than 6 Weeks’ Salary in total, such total including the contracted to work the remainder of the working week, as distinct from the Production
Rehearsal Period and any Weeks for which the top-up payments under only playing a partial week, then all aspects of this Agreement shall be apportioned
clause 2.2.6.1 have been paid. between the Artists concerned with the guiding principle being that between them they
are treated no more nor no less favourably than an Artist working a full working week.

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2.3 Salary 2.3.1.5.7 For Actor-Musicians the Minimum Rehearsal Salary shall be
2.3.1 Applicable Minimum Salaries equal to 50% of the Base Salary plus 50% of the SOLT
2 2.3.1.1 The Applicable Minimum Salary for an Artist is based on four factors: /Musicians Union minimum; the Minimum Performance 2
the Category of theatre at which the Production takes place; Salary shall be the appropriate SOLT/Musicians Union
the Performance Schedule of the Production; minimum. See Schedule 8.
the function undertaken by the Artist;
and the Artist’s Schedule. 2.3.1.6 The Minimum Salary referred under clauses 2.3.1.5.1 to 2.3.1.5.7 or
elsewhere in this Agreement, as applicable, shall be prorated according
2.3.1.2 If the Performance Schedule for the Production is equal to or less than 8 to the Artist’s Schedule. This figure is the Applicable Minimum Salary.
Performances a Week, then the 8-Performance rate will apply. If the
Performance Schedule for the Production is for more than 8 2.3.2 performances
Performances a Week, then the 12-Performance rate may apply. The Artist’s weekly salary shall cover the maximum number of Performances a Week
set out in their Contract and a maximum of two performances on any one day.
2.3.1.3 The Base Salary for all Artists continuing or entering employment on or
2.3.3 Temporary cover
after the Implementation Date and engaged to appear for an
An Artist may be engaged as a temporary cast replacement or Emergency Cover for
8-Performance Week in a Category A theatre shall be £712.73, for a
less than a Week provided that the Performance Salary is Not Less Than the
Category B theatre, £648.34 and for a Category C theatre £583.38.
Applicable Minimum Salary were the Artist to perform for a Week.
2.3.1.4 The Base Salary for all Artists continuing or entering employment on 2.3.4 changes to Theatre  capacity
or after the Implementation Date and engaged to appear for a Should the Production Capacity of a theatre increase, taking the theatre into a higher
12-Performance Week in a Category A theatre shall be £834.49, for a Category after the Artist’s Contract has been agreed then, from the date of such
Category B theatre, £758.61 and for a Category C theatre £682.76. change, the new Category rates shall apply to any payments due to the Artist. Should
the Production Capacity of a theatre decrease to take the theatre into a lower
2.3.1.5 Subject to clause 2.3.1.6: Category, no change shall be made to the Artist’s payments. However, Artists
2.3.1.5.1 For Actors the Minimum Performance Salary shall be equal engaged for the Production after any such change to a lower Category, may be paid
to the Base Salary. at the new Category rates.

2.3.1.5.2 For Actors the Minimum Rehearsal Salary shall be equal to 2.3.5 payment of Salary
the Base Salary. The Artist’s Salary together with any additional Weekly payments and Understudy
Performance Payments (other than any variable part of it based on box office receipts)
2.3.1.5.3 For Stage Management the Minimum Salary for an Assistant less any deductions made in accordance with this Agreement shall be paid in any of
Stage Manager shall be equal to the Base Salary. The rates the following ways:
for other grades are set out in clause 6.3. 2.3.5.1 by cheque (if paid on a Thursday)

2.3.1.5.4 For Performers under the age of 16 years the Minimum 2.3.5.2 by the Bankers’ Automated Clearing System (BACS) to reach the payee
Salary shall be half of the Base Salary. Note the changes to by noon on Friday of each Week.
ceilings and other minima in Clause 9.5.
2.3.5.3 by cash if mutually agreed, to reach the payee by noon on Friday of each
2.3.1.5.5 For Supernumeraries the Minimum Salary for an Week
8-Performance Week shall be one-sixteenth and for a
12-Performance Week one-twenty-fourth of the Category C 2.3.6 vAT
Base Salary for each Performance or rehearsal irrespective If the Artist is registered for VAT they must submit an invoice for VAT on their services to
of the theatre’s Production Capacity. the Manager within 30 days of the end of the Week in which the services were provided
in order to receive payment of their VAT invoice. If the Artist complies with this clause
2.3.1.5.6 For Booth Singers the Minimum Salary shall be for an the Manager shall make payment within 30 days of receipt of the VAT invoice.
8-Performance week one-eighth and for a 12-Performance
week shall be one-twelfth of the Category C Base Salary 2.4 Hours of Work
each Performance or Rehearsal Session irrespective of the 2.4.1 The Artist’s Salary, including any adjustments in accordance with this Agreement for
theatre’s Production Capacity. Performances or rehearsals on Sundays or Public Holidays, covers work on a
maximum of any 6 days in any one Week between 08:00 and 23:30.

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2.4.2 Working Time Regulations Period of Flexible Scheduling and no alteration shall be made to the Artist’s
The reference period for the calculation of average working time of 48 hours per Salary as a result of such re-scheduling.
2 Week as laid down in the Working Time Regulations 1998 shall be 52 Weeks or the 2
actual period of employment, if less. 2.6.2.2 If Performances are so re-scheduled then no rehearsals shall take place
in a week in which the maximum number of performances are given
Calculation of time for the purpose of this clause shall be entirely on actual time except in an Emergency.
worked with no rounding up or minimum Calls.
2.6.3 Flexible Scheduling Other Than The christmas period
Compensatory rest for a breach of the overnight break shall be given within 4 Weeks The Manager may nominate up to 2 Periods of Flexible Scheduling when for each Period
and compensatory rest for a breach of the Nominated Rest Day break shall be given of Flexible Scheduling up to 16 Performances can be rescheduled across 2 consecutive
within 8 Weeks. Weeks of the Performance Schedule. For each of these Periods of Flexible Scheduling
not more than 9 Performances may be given in one of those two Weeks and no
2.5 Sunday performances alteration shall be made to the Artist’s Salary as a result of such Flexible Scheduling.
2.5.1 Nominated Rest Days
2.5.1.1 Where an Artist’s Contract contains the option for Sunday Performances, 2.7 Annual Holiday
any of the seven days in the Week may be nominated by the Manager as 2.71 Entitlement
the Nominated Rest Day for that Week. For the avoidance of doubt each 2.7.1.1 The Artist is entitled to 28 days’ holiday with pay in each complete year
complete Week shall have 1 day as their Nominated Rest Day. of work. Entitlement for part-years will be calculated pro rata.

2.5.1.2 An Artist working under a Contract that does not contain the option for 2.7.1.2 The annual entitlement rises to 30 days for those Artists with 5 years’ or
Sunday Performances but who is then required to perform on a Sunday, more continuous service on the Production.
shall be entitled to have the Monday as their Nominated Rest Day.
2.7.1.3 The Manager may choose to count any Public Holiday (other than
2.5.1.3 The Manager shall give the Artist not less than 8 Weeks’ notice of a Christmas Day) on which the Artist is not called for work as a day of the
change to the Nominated Rest Day. Artist’s holiday entitlement, provided the Artist is paid for any such day and
it is not a Nominated Rest Day. The Performance may be rescheduled in
2.5.1.4 If 2 performances on a Sunday are scheduled (other than under Clause accordance with clause 2.8.6. If the Artist is not called for work on a
2.6) then the Nominated Rest Day must be Monday. Public Holiday then the provisions of clause 3.3 shall apply. (Cross-
reference to clause 2.8.1 re Christmas Day.)
2.5.2 performances and payments
2.5.2.1 The Manager may only schedule 2 Performances on a Sunday with the 2.7.2 Timing
approval of the Artist(s) in the Production. The Manager should give the 2.7.2.1 Holiday must be arranged mutually between the Manager and the Artist,
Artist no less than 8 Weeks’ notice of the intention to schedule 2 save that the Manager may, by giving at least 8 weeks’ prior notice, specify
Performances on a Sunday. when holiday is to be taken. This notice shall not apply in the case of an
agreed contractual non-availability which the Manager elects to treat as
2.5.2.2 The Sunday performance payment will be as specified in Appendix 7 and a part of the Artist’s holiday entitlement. The Manager will accommodate the
is payable for each Performance given by the Artist on a Sunday. Artist’s wishes where it is reasonable and practicable to do so. If the Manager
is aware of an intended closure period for the Production at the time of
2.6 periods of Flexible Scheduling signing the Artist’s Contract, the Manager will inform the Artist accordingly.
2.6.1 The Manager may, by giving not less than 8 Weeks’ prior notice (or not less than 4
Weeks’ prior notice for contracts of less than 26 weeks), nominate up to 3 Periods 2.7.2.2 The Artist’s holiday entitlement accrues evenly through the year and
of Flexible Scheduling in each year of an Artist’s Contract. One Period of Flexible normally the Artist will not be entitled to take holiday in excess of the amount
Scheduling may be during the Christmas Period as specified in 2.6.2 and up to a accrued at the time of the holiday. In the event that the Manager agrees
further 2 Periods of Flexible Scheduling may be nominated as specified in 2.6.3. to the Artist taking holiday before it has accrued and the Artist’s Contract
During a Period of Flexible Scheduling the Manager may only schedule 2 does not subsist long enough for it to accrue, the Manager shall be entitled
Performances on a Sunday with the approval of the Artist(s) in the Production. to deduct the overpayment of holiday pay from the Artist’s Salary payments.

2.6.2 Flexible Scheduling During The christmas period

2.6.2.1 During the Performance Period or Preview Period only the Manager may
re-schedule up to 24 Performances across the Christmas Period, provided
that not more than 10 Performances may be given in any Week during this

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2.7.2.3 With the exception of single days of holiday as specified in 2.7.2.4, in the 2.8.6 The Manager may elect not to give a scheduled Performance on a Public Holiday and
event of the Artists accruing holiday entitlement of 6 or more days, any may then re-schedule that Performance to another Performance day that week with
2 holiday period taken shall not be shorter than 6 days and, if the holiday no penalty. 2
entitlement accrued is 12 or more days, the holiday period shall not be
shorter than 12 days. The Manager shall use their reasonable endeavours 2.8.7 Rehearsals on Public Holidays shall be subject to a minimum Call of 4 hours.
to arrange, should the Artist so wish, that of a full year’s entitlement the
Artist is able to take two holiday periods of 6 days each or one holiday 2.9 Allowances & Expenses
period of 12 days. 2.9.1 pre and  post West  End Tours
During any pre or post West End tour the Artist shall remain under the terms of this
2.7.2.4 The Manager may, by giving at least 8 weeks’ prior notice, specify up to Agreement with the additional conditions covering touring allowance, subsistence and
2 single days of holiday. The Artist may, by giving at least 8 weeks’ notice, travel as set out in the Commercial Theatre Agreement.1 However, an Artist whose
request up to 2 single days of holiday and the approval of such request(s) Performance Salary is £2,400.00 or more or is based on a percentage of box office
is at the Manager’s discretion. receipts shall not be entitled to receive touring allowance or subsistence. The
Manager’s responsibility for fares at the beginning and end of the Contract – where
2.7.3 unused Holiday such beginning or end is on tour – shall not be limited to the 25 mile qualifying limit.
2.7.3.1 A maximum of 4 days’ holiday may be carried over from one year to the
next and must be used within that second year. 2.9.2 Relocation Allowance
Subject to 2.9.3, an Artist whose home address as specified in their Contract as 60
2.7.3.2 Where the Artist is entitled to 30 days’ holiday under clause 2.7.1.2, the miles or more from Charing Cross shall receive the West End Relocation Allowance
Manager may replace up to 2 days’ holiday a year by payment in lieu. for the first 13 Weeks of the engagement in the West End under this Contract.
Otherwise, holiday may not be replaced by payment in lieu except where
the Contract is terminated. 2.9.3 The Artist is not eligible to receive the West End Relocation Allowance if any of the
following apply:
2.7.3.3 Any payment in lieu of holiday shall be calculated by multiplying the 2.9.3.1 The Artist’s Performance Salary is £2,400.00 or more or is based on a
fraction of the year worked by the entitlement in clause 2.7.1.1 or 2.7.1.2 percentage of box office receipts;
and subtracting any holiday already taken.
2.9.3.2 The Artist received West End Relocation Allowance on another engagement
2.7.4 payment (whether for the Manager or for another Manager who is a member of SOLT)
Holiday pay or pay in lieu of holiday shall be paid at the rate of Average Salary. and such previous engagement terminated 6 weeks or less before the start
of this Contract. This clause also applies where the Artist received the UK
2.8 christmas Day / Work on public Holidays Theatre equivalent of Relocation Allowance to relocate to London on an
2.8.1 The Manager may not require the Artist to rehearse or perform on Christmas Day. engagement for an affiliate member of SOLT and such engagement
When, and only when, the contract duration includes Christmas Day the Artist will terminated 6 weeks or less before the start of this Contract.
receive holiday pay for Christmas Day but the day will not be deducted from the
Artist’s accrued holiday entitlement. (For the avoidance of doubt, Christmas Day may 2.9.3.3 The Artist received the West End Relocation Allowance (or UK Theatre
not be the Nominated Rest Day.) equivalent of Relocation Allowance) on another engagement that was
conditional upon this Contract.
2.8.2 Subject to clause 2.8.1 the Manager shall be entitled to require the Artist to rehearse
or perform on any Public Holiday. 2.9.3.4 Once the Artist has exhausted the period of eligibility for the West End
Relocation Allowance the Artist will not be eligible for further payments of
2.8.3 Other than during the Preview Period, the Manager shall endeavour not to schedule the West End Relocation Allowance if the Contract is renewed.
rehearsal Calls on a Public Holiday during the Performance Period.
2.10 Transport
2.8.4 For any work on Public Holidays the Manager shall pay the Artist as in Schedules 5, 2.10.1 Late Hours
6 or 9 as applicable. If the Artist is required by the Manager to remain at the place of work after the earlier
of 23:30 and the hour at which their public transport ceases, then the Manager shall
2.8.5 If the government declares a Lieu Day, Equity may, by giving SOLT not less than 26 provide transport or pay any reasonable expenses which the Artist shall incur in taking
weeks’ prior written notice, nominate either 1st January or the Lieu Day and/or either proper means of transport to the Artist’s place of residence. In London this obligation
26th December or the Lieu Day as the day for Performances on which the payment shall be limited to transport up to a distance of 35 miles from Charing Cross. In the
referred to in clause 2.8.4 is payable. event of a transport or other strike or in the event of public transport not being

1 These allowances change in April of each year – check on www.uktheatre.org

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available for any reason which prevents the Artist from using reasonable alternative 2.12.2 prior to commencement of  Rehearsals
means of transport the Manager shall provide transport or pay the Artist’s reasonable If after the signature of the Contract the Artist or the Manager understands that the
2 expenses for their journey to work and homeward trip. Artist will be unable to rehearse at the commencement of the Rehearsal Period, the 2
Manager or the Artist may by registered letter notify the other of the immediate
2.10.2 Non-availability of public transport other than late hours termination of the Artist’s employment. The Manager or Artist may request that The
If public transport is not available, subject to the Manager’s prior approval, reasonable Theatre Council meet within four days to decide whether or not such termination
travel expenses up to a distance of 35 miles from Charing Cross will be paid by the shall be upheld and such decision shall be binding on both parties.
Manager. The Artist must provide the Manager with the applicable receipt(s) within
one week of the transport expense being incurred. 2.12.3 Termination Rights Applicable to Absence
2.12.3.1 Absence During the Rehearsal period Irrespective of contract
2.10.3 For press, publicity & promotion calls Duration
If the Artist is required to attend a Press or Publicity or Promotional Call the Manager Notwithstanding 2.12.3.2 or 2.12.3.3, if during the Rehearsal Period the
will provide or pay for the cost of the Artist’s transport to the Call subject to the Artist should be unable to attend rehearsals on 5 days, consecutive or
following conditions: otherwise, due to illness or injury, the Manager may terminate the Artist’s
2.10.3.1 the form of transport used is at the Managers’ discretion and the Manager’s employment by giving not less than 2 Weeks written notice to the Artist.
prior approval must be given of the mode of transport to be used and the
costs thereof; 2.12.3.2 Absences for contracts Over 26 Weeks
Where the duration of the Artist’s Contract is more than 26 weeks and an
2.10.3.2 if payment in respect of transport costs is made to the Artist then that is Artist has been absent for 6 Weeks of Performances, the Manager may
in lieu of the Manager providing transport and subject to the Artist terminate the Artist’s Contract at any time by giving not less than 2 Weeks’
providing the Manager with appropriate receipts; written notice. Applicable absences may be consecutive or otherwise. If
the Artist is injured at the place of work, the right to terminate shall not
2.10.3.3 the Manager will not be required to pay for or provide transport if the normally be exercised.
Press or Publicity or Promotional call is at a location which is a reasonable
distance from the Artist’s usual place of work (including rehearsal room 2.12.3.3 Absences for contracts of 26 Weeks or Less
when applicable) and the time that the Artist will be required to travel is Where the duration of the Artist’s Contract is 26 Weeks or less, and an
between 0800 and 2330; Artist has been absent for the number of Weeks during the Rehearsal
Period and / or the Performance Period specified in 2.12.3.3.1 –
2.10.3.4 the Artist must use public transport wherever possible and always within 2.12.3.3.2, then the Manager may terminate the Artist’s Contract at any
Zone 1 of London (unless the Manager’s prior approval has been given time by giving not less than 2 Weeks’ written notice. Applicable absences
otherwise). may be consecutive or otherwise. If the Artist is injured at the place of
work, the right to terminate shall not normally be exercised.
2.10.3.5 the transport provisions of clause 2.10.2 (relating to times when the
Artist’s usual mode of public transport is not available) still apply. 2.12.3.3.1 2 Weeks of absence where the Contract is less than 16
Weeks
2.11 press, publicity & promotion
2.11.1 The Artist agrees to attend all Press and Publicity and Promotional calls either at the 2.12.3.3.2 3 Weeks of absence where the Contract is 16-26 Weeks
place of work or externally, including photographs arranged by the Manager for the
promotion of the Production. Press and Publicity and Promotional calls which continue 2.12.4 Suspension of Artist
outside the Hours of Work will incur the relevant overtime payments accordingly. The Manager may suspend the Artist from any Performance or from any number of
Performances but the Artist shall continue to be paid Salary in respect of such
2.11.2 Refer also to Clause 4.3 re Publicity and photographs. Performances and in consideration of such payment all obligations on the Manager
to advertise the Artist or allow the Artist to perform shall cease. Other than when this
2.12 Termination Rights occurs as a part of the disciplinary procedure under clause A1.2.2 or A1.5, the
2.12.1 Where the statutory minimum period of notice of termination to which the Artist is Manager shall immediately notify the Artist in writing of the reasons for such suspension
entitled is greater than that specified in the Agreement, the Manager shall give the and send Equity a copy of the notice. Equity may require a meeting of The Theatre
Artist the statutory minimum period of notice. Council which shall meet within 72 hours after receipt of such request, to consider the
reasons for suspension and any submissions made by Equity on behalf of the Artist.
The powers of The Theatre Council shall be as set out in Schedule 10.

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2.13 General provisions 2.13.5.1.2 The Call was scheduled to take place during the technical
2.13.1 Limited company rehearsals (as usually understood) prior to the first
2 If a Contract is entered into by a limited company to provide the Manager with the Performance; 2
services of the Artist then, unless otherwise agreed by the Artist and the Manager,
all payments expressed as payable to the Artist shall be payable to such company, 2.13.5.1.3 The call was scheduled to take place during re-cast
notices required to be given to or by the Artist may be validly given to or by either the rehearsals for the replacement of a major proportion of the
Artist or such company and the personal guarantee and agreement at the end of the cast of the Production.
Contract shall be signed by the Artist.
2.13.5.2 If the Call is cancelled within 2 hours of the scheduled start time of the
2.13.2 Equity Business Call then the Hours of Work for that Call shall accrue to the Artist (but not
2.13.2.1 There shall be a notice board in a prominent position backstage for the any breach of break that would have occurred as a result of such a Call)
use of Equity only. notwithstanding any of 2.13.5.1.1 – 2.13.5.1.3.

2.13.2.2 The Manager will schedule a company meeting to be held in the last half 2.13.6 Notices
hour of work during the first fortnight of the Rehearsal Period or of a 2.13.6.1 All notices to the company including Calls shall be displayed on the stage-
subsequent cast change Rehearsal Period for the attendance of an Equity door notice board and shall be deemed to be valid notice to every
official, during which time an Equity Deputy may be elected. member of the company.

2.13.3 complaints or claims 2.13.6.2 All other notices or communications shall be in writing and addressed to
If a claim is brought by an Artist who is a member of Equity, under clause 10.2 or if the Manager or to the Artist at their address in the Contract or such other
any formal claim for payment is made by an Artist through Equity: address as shall have been notified.
2.13.3.1 the Manager may not accept any waiver of the Artist’s claim without
Equity’s written consent; 2.13.6.3 A copy of all notices to the company in general will be made available to
the Equity Deputy.
2.13.3.2 the Manager will not approach an Artist soliciting their agreement to waive
a claim; 2.13.7 Work  Spaces
The Manager shall ensure that the Theatre Management provides dressing room
2.13.3.3 any such claim shall be made within 4 Weeks of the matter which is the accommodation for all Artists and shall ensure that:
subject of the claim arising. 2.13.7.1 All accommodation shall be of a decent standard, with proper toilet
and washing facilities, including the provision of hot water, easily
2.13.4 Notification of calls accessible potable drinking water and, where body make-up is used,
2.13.4.1 The Manager shall give as much notice as reasonably practicable of showering facilities.
all Calls.
2.13.7.2 Showering facilities are provided where strenuous physical activity is
2.13.4.2 During the Rehearsal Period a Call will normally be notified by Friday for involved.
the following Week.
2.13.7.3 All dressing-rooms, backstage rehearsal and Performance areas shall be
2.13.4.3 During the Performance Period, the Manager shall give at least 48 hours’ kept reasonably warm in cool weather and reasonably cool in warm
(excluding the Nominated Rest Day) notice of the Call. If a member of the weather, well ventilated and adequately lit, while the Artist is required to
original creative team (or one of their non-resident associates) makes an be in the theatre. The temperature of dressing-rooms, backstage
unannounced visit then a Call may be made for the following day or, rehearsal and Performance areas will be closely monitored and a
subject to clause 2.10.1, brief notes given following the Performance. reasonable temperature established for each show.

2.13.5 cancellation of calls 2.13.7.4 Adequate, clean and comfortable seating is provided for each Artist.
2.13.5.1 Subject to 2.13.5.2, if a Call is cancelled on less than 24 hours’ notice
the Hours of Work for that Call shall accrue to the Artist (but not any 2.13.7.5 A drawer or cupboard that can be locked is provided for each Artist and
breach of break that would have occurred as a result of such a Call) where reasonably practicable a safe that can be used for the Artist’s
unless any of the following of 2.13.5.1.1 – 2.13.5.1.3 apply: valuables. An Artist may deposit valuables with the Company Manager for
2.13.5.1.1 The Call has been cancelled due to the non-availability of storing in the safe during the Performance. The Artist is fully responsible
someone engaged on an Equity contract; for the insurance of such valuables and the Manager shall not under any
circumstances be liable for any loss arising from such deposit and storage.

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2.13.7.6 Suitable rehearsal space and, where applicable, surfaces for dancing are 2.15.5.1 The Manager shall ensure that the Artist is made aware of and is given
provided and an adequate space for warm-ups. the opportunity to practise separate fire and emergency drill procedures.
2 The Manager shall ensure that a First Aid box and a designated First 2
2.13.8 programme Aider is readily available to the Artist in accordance with statutory
2.13.8.1 The programme shall contain the names of all Artists appearing in the requirements and that a bed is available in case of illness or injury where
Production, either on the same page or on consecutive pages. This shall space allows or where space does not allow the cast shall be informed
not apply to Supernumeraries or to an Artist who specifically requests not at the time of the first technical rehearsal.
being credited.
2.15.5.2 For each Production a Health and Safety Committee will be established,
2.13.8.2 The Artist shall have the right of approving all biographical facts to be whose membership shall include at least one Artist.
included in the programme.
2.15.5.3 In the event of a rake being used in a Production, the Artist and the
2.13.8.3 If there are any errors in the programme, it shall be slipped as soon as Manager shall familiarise themselves with the guidelines set out in
reasonably practicable and the programme must be corrected at the next Appendix 3 and, in the case of a rake of 1:12 or steeper, the Manager
reprint. shall provide a specialist in accordance with the recommendation in
clause A3.3.10.
2.14 Disciplinary and Grievance
The full disciplinary and grievance procedures are set out in Appendix 1. 2.15.6 Tax and National Insurance contributions
2.15.6.1 The Manager is entitled to make any required deductions for tax and
2.15 Managers’ Responsibilities national insurance contributions (“NICs”) from payments made to the
2.15.1 The Manager shall not propose any reduction in Salary to any Artist. Artist. Artists who are Entertainers are responsible for making any
payments of tax and NI required to be made to HMRC in respect of
2.15.2 Director’s Duties payments made to them by the Manager.
The Manager shall require the Director diligently to service the Production as may from
time to time be necessary and to watch the Production not less than once every 3 2.15.6.2 The Artist shall be given with every payment of Salary an authentic pay
months and give notes at a convenient time. Other than for Productions which advice slip stating the amount and nature of any deduction – including
opened before 14th January 2002, where the Director is not available, an Assistant pension contributions – from Salary. This slip shall constitute affirmation
or Associate Director or a person nominated by the Manager must be appointed and that the Manager intends to submit any sums required to be deducted
receive an additional agreed payment. and paid by the Manager to HMRC, or any other body from time to time
authorised to accept such remittances. If the Artist is not an Entertainer
2.15.3 Notifications to Equity they shall insert in the space provided on the Contract their name for
The Manager shall send to Equity a cast list, a list of Leading Roles, and the National Insurance purposes if different from their stage name.
Production Capacity before the opening of the Production, and from time to time
when any of these change. 2.15.6.3 Artists who are normally resident in an EU country other than the UK,
and are not Entertainers, shall provide the Manager with form E101 or A1
2.15.4 Insurance of  Artists Certificate.
2.15.4.1 If the Artist is required to undertake business of a potentially hazardous
nature, including any fight sequence or flying, then the Manager shall 2.15.7 prosecution of production
arrange personal accident insurance for the Artist. If a complaint is made that the Production contravenes the law, or if a claim or charge
(either civil or criminal) is made against the Artist acting in accordance with directions
2.15.4.2 The Artist shall provide the Manager with any reasonable medical information in the Production, the Manager shall defend the Artist at their own expense and shall
required by the Manager’s insurance company in order to establish indemnify them against any loss or damage. At the time of employment the Manager
insurance cover in respect of the Artist’s non-appearance. The Artist represents to the Artist that the Production will not contravene the law and agrees
agrees where required by the insurance company to submit to a medical that, in the event of a successful prosecution, the Artist shall be free to terminate the
examination by an independent medical practitioner in order to establish employment and shall receive Not Less Than two Weeks’ Salary.
such cover or in the event of a claim by the Manager.
2.15.8 Scripts and Scores
2.15.5 Health and Safety 2.15.8.1 The Manager shall provide scripts and music where needed to the Artist.
The Manager will provide and maintain safe and healthy conditions of work. A written
statement of general policy regarding health and safety matters shall be posted at the 2.15.8.2 It is the Artist’s responsibility to keep their script and music up to date.
place of work. The Artist must keep themselves informed of any changes and the
Manager shall also inform the Artist of any changes to business or script.

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2.15.8.3 All scripts and music remain the property of the Manager, shall not be are not Entertainers. The Manager is only required to provide a completed
parted with or copied by the Artist and shall be returned to the Manager SMP1 form to the Artist, in order to allow the Artist to claim maternity
2 at the end of the Artist’s employment or on request by the Manager. In allowance, if the Artist is not an Entertainer. Artists must not claim 2
the event of an Artist losing or damaging a script or music, the Artist shall maternity allowance if they qualify for contractual maternity pay.
be responsible for payment to the Manager for the cost of replacement.
2.15.12 parental Leave
2.15.9 Auditions The Artist shall be entitled to statutory parental leave in accordance with the relevant
2.15.9.1 The Manager shall make themselves aware of Equity’s Minority Ethnic legislation from time to time in force. The statutory default provisions (the ‘fall back
Members’ Register and the Members with Disabilities Register when scheme’) shall apply.
casting is being undertaken.
2.15.13 Time off for Dependants
2.15.9.2 The Manager and the Artist shall each make themselves aware of the The Artist shall be entitled to statutory time off for dependants in accordance with the
Code of Conduct for Auditions as set out in Appendix 2. relevant legislation from time to time in force.

2.15.10 Rehearsals 2.15.14 paternity Leave

All rehearsals shall be conducted by an appropriate person and except in the case 2.15.14.1 The Artist shall be entitled to ordinary statutory paternity leave in
of early blocking, step or note learning, where possible this should be the relevant accordance with the relevant legislation from time to time in force.
member of the original or resident creative team or other competent person. The
Manager shall ensure that no Artist is required to undertake tasks beyond their ability. 2.15.14.2 Subject to satisfying the requirements for entitlement to ordinary statutory
paternity pay (excluding for Entertainers, any requirement to pay Class 1
2.15.11 Maternity Leave NICs) during statutory paternity leave, the Artist shall be entitled to
2.15.11.1 The Artist shall be entitled to statutory maternity leave in accordance with contractual paternity pay.
the relevant legislation from time to time in force.
2.15.14.3 Contractual paternity pay shall be paid at
2.15.11.2 Subject to satisfying the requirements for entitlement to statutory 2.15.14.3.1 the rate of Salary for the first week of paternity leave; and
maternity pay (excluding for Entertainers, any requirement to pay Class
1 NICs), during statutory maternity leave, the Artist shall be entitled to 2.15.14.3.2 the same rate as the flat rate of ordinary statutory paternity
contractual maternity pay. pay in force at the time the contractual paternity payment
is made for the second week of paternity leave3
2.15.11.3 Contractual maternity pay shall be paid at the same rate as the rate of
statutory maternity pay in force at the time the contractual maternity 2.15.14.4 Contractual paternity pay is deemed to be inclusive of any ordinary
payment is made. Contractual maternity pay is currently: statutory paternity pay the Artist may be entitled to receive.

2.15.11.3.1 90% of the Artist’s average weekly earnings2 for the first 6 2.15.14.5 Statutory paternity leave must be taken as 1 week or 2 consecutive
weeks of maternity leave; and weeks; it cannot be taken as odd days or 2 separate weeks. All other
requirements relating to eligibility, notification and the timing of the taking
2.15.11.3.2 paid at the same rate as the current flat rate of statutory of such leave shall be in accordance with the relevant legislation from
maternity pay for up to 33 weeks of the remaining maternity time to time in force.
leave.
2.15.14.6 The Manager is only required to provide a completed SPP1 form to the
2.15.11.4 The requirement for average weekly earnings to be earnings which are Artist if the Artist is not an Entertainer.
subject to Class 1 NICs shall not apply where the Artist is an Entertainer.
2.15.14.7 Additional statutory paternity leave shall be in accordance with the
2.15.11.5 Contractual maternity pay is deemed to be inclusive of any statutory relevant legislation from time to time in force, with the exception that the
maternity pay the Artist may be entitled to receive. entitlement applies regardless of length of service. Contractual additional
paternity pay shall be paid at the same rate as the flat rate of additional
2.15.11.6 If the Artist does not qualify for contractual maternity pay, they may be statutory paternity pay in force at the time the contractual additional
eligible to claim maternity allowance. If claiming maternity allowance, paternity payment is made, and it is deemed to be inclusive of any
Artists should provide the information relevant to self-employed people if additional statutory paternity pay the Artist may be entitled to receive.
they are Entertainers, and the information relevant to employees if they
2 “Average weekly earnings” has a specific statutory definition. 3 If Salary for the first or second week is lower than contractual paternity pay please seek advice.

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2.15.15 Adoption Leave 2.16 Artist’s Responsibilities

2.15.15.1 Where the Artist adopts a child individually or where the Artist adopts a 2.16.1 Artist’s Address
2 child jointly and is the joint adopter who chooses to take adoption leave, 2.16.1.1 The Artist shall keep the Manager informed of all of their contact details 2
the Artist shall be entitled to statutory adoption leave in accordance with and any changes to them as soon as possible.
the relevant legislation from time to time in force.
2.16.1.2 The Artist shall keep the Company Manager informed of the departure
3 2.15.15.2 Subject to satisfying the requirements for entitlement to statutory adoption times of their latest two methods of public transport.
pay (excluding for Entertainers, any requirement to pay Class 1 NICs)
during statutory adoption leave, the Artist shall be entitled to contractual 2.16.2 public  Statements
adoption pay. The Artist shall not address the audience and shall not make or cause to be made
any public or press announcements regarding the Play or any incident arising
2.15.15.3 Contractual adoption pay shall be paid at the same rate as the rate of therefrom, nor convey any information regarding the same to any press agent, without
statutory adoption pay in force at the time the contractual adoption the permission of the Manager.
payment is made. Contractual adoption pay is currently:
2.15.15.3.1 90% of the Artist’s average weekly earnings4 for the first 6 2.17 Artist’s Duties
weeks of adoption leave; and 2.17.1 performance Duties
For a play or musical, an Artist’s duties shall be taken as being those undertaken
2.15.15.3.2 paid at the same rate as the current flat rate of statutory following the Press Night. For a cast replacement the duties shall be taken as those
adoption pay for up to 33 weeks of the remaining adoption after the Artist’s first paid performance. For a revue, the duties shall be taken as being
leave those undertaken by the end of the Week after the Week containing the Press Night.

2.15.15.4 The requirement for average weekly earnings to be earnings which are 2.17.2 undertaking
subject to Class 1 NICs shall not apply where the Artist is an Entertainer. 2.17.2.1 The Artist undertakes to perform the services required in a diligent and
competent manner, to play the Part and/or be a Cover as directed and
2.15.15.5 Contractual adoption pay is deemed to be inclusive of any statutory not to insert or omit any words not approved by the Manager.
adoption pay the Artist may be entitled to receive.
2.17.2.2 The Artist undertakes to comply with the Artist’s Schedule of Professional
2.15.15.6 Where the Artist adopts a child jointly but is not the joint adopter who Conduct (Appendix 6), the rules of any theatre or other place of rehearsal
chooses to take adoption leave, the Artist may (regardless of gender) be or performance and with all the rules made by the Manager, insofar as
entitled to statutory paternity leave and contractual paternity pay in they do not conflict with the terms of the Contract.
accordance with 2.15.14 above.
2.17.3 Attendance at calls
2.15.15.7 The Manager is only required to provide a completed SAP1 form to the 2.17.3.1 The Artist shall arrive at all Calls in good time, be ready and prepared to
Artist if the Artist is not an Entertainer. start work at the beginning of the Call and remain throughout the Call until
the Call is ended by the Stage Manager.
2.15.16 compassionate Leave
Other than for reasons falling under clause 2.15.12 or 2.15.13 the Manager shall not 2.17.3.2 The Artist shall be in attendance at the theatre not later than the Performance
unreasonably refuse an application for compassionate leave without loss of Basic Call and at the rehearsal venue not later than the Call for work.
Salary for reasons of (for example) immediate family bereavement or serious illness.
2.17.3.3 If the Artist is absent for reasons of their own neglect or default for any
2.15.17 Redundancy part of a Call, the Manger may deduct one hour pro-rata from the Artist’s
The Artist shall be entitled to a statutory redundancy payment in accordance with the Salary for each hour or part thereof missed by the Artist.
relevant legislation from time to time in force, save that such payment shall be
calculated on the basis of a week’s pay being equivalent to the Artist’s Applicable 2.17.3.4 Any absence without reasonable cause or explanation may be treated as
Minimum Salary. serious misconduct and may entitle the Manager to dismiss the Artist.

2.17.4 preparation for performance

The Artist must be properly prepared for each Performance or rehearsal both
physically and vocally. Where the Manager arranges a pre-Performance warm-up
the Artist must attend it and conscientiously exercise as directed.
4 “Average weekly earnings” has a specific statutory definition.

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2.17.5 Warranty 3 ScHEDuLE 3 – MINIMuM TERMS AND cONDITIONS AppLyING TO AcTORS

In undertaking the Contract the Artist warrants that there is no known pre-existing AND STAGE MANAGEMENT ONLy
2 factor which could impede their ability to fulfil the Contract. If the Artist is aware of 3.1 pension
any such pre-existing factor they must declare it to the Manager at the negotiation 3.1.1 The Scheme
stage so that the Manager may ensure compliance with any applicable health and 3.1.1.1 The Manager shall make employers’ pension contributions in respect of
safety obligations and can make any reasonable adjustments appropriate in the the Equity pension scheme where the Actor or member of Stage
circumstances. The Artist must also inform the Manager if the Artist is in receipt of Management has joined the scheme. The Manager will not contribute to 3
injury remuneration, sick pay or other benefits from a third party. any other personal pension scheme.

2.17.6 Notification of Absence 3.1.1.2 It is the responsibility of the Actor or member of Stage Management to
Where an Artist is absent or likely to be unable to perform the Artist shall use best notify the Manager prior to the employment if an existing member of the
endeavours to ensure that the Manager is informed in sufficient time for the Artist’s scheme, and to provide the scheme membership number.
Cover to prepare to perform in their stead.
3.1.1.3 Contributions commence for new joiners to the scheme with effect from
1st January, 1st April, 1st July or 1st October, provided that the Manager is
given 28 days’ notice. For the avoidance of doubt, contributions, whether
those of the Manager or the Actor or member of Stage Management,
cannot be made retrospectively.

3.1.2 contributions
3.1.2.1 All contributions from Manager and Actor or member of Stage
Management are subject to a maximum of 175% of the Applicable
Minimum Salary.

3.1.2.2 The Manager’s contribution is 5% of capped Salary, increased for an

Actor or member of Stage Management whose continuous service with
the same Manager exceeds two years to 7.5% of capped Salary, and for
an Actor or member of Stage Management whose continuous service
with the same Manager exceeds five years to 10% of capped Salary.

3.1.2.3 The Actor or member of Stage Management’s contribution shall be Not

Less Than 3%. Where the Manager is contributing 7.5% of capped Salary,
the Actor or member of Stage Management’s contribution shall be half
of that sum and where the Manager is contributing 10% of capped Salary,
the Actor or member of Stage Management’s contribution shall be half
of that sum.

3.1.3 payment
3.1.3.1 The Manager shall remit on a monthly basis to Andrew Barker, First Act
Insurance, Simpson House, 6 Cherry Orchard Road, East Croydon,
Surrey, CR9 5BB with the cheque payable to Aviva or such other details
as are notified by Equity to SOLT from time to time.

3.1.3.2 As contributions include those deducted for the employee, they must, by
law, be paid over no later than the 19th of the following month.

3.2 Incapacity
3.2.1 An Actor or member of Stage Management absent by reason of incapacity due to
illness or injury shall be eligible for:
3.2.1.1 statutory sick pay in accordance with current legislation; and
‘Incapacity Salary’: is the Actor or member of Stage Management’s Salary capped at double the Applicable Minimum Salary
‘Incapacity Salary Period’: is the period for which the Actor or member of Stage Management is entitled to Incapacity Salary

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3.2.1.2 Incapacity Salary in respect of the Incapacity Salary Period, subject to 3.2.4.5.3 For Contracts of more than 52 weeks or Contracts which
meeting the conditions in clause 3.2.5 are renewed / extended to be of more than 52 weeks’
duration: A new Incapacity Salary Period shall be
3.2.2 Incapacity Salary shall be deemed to be inclusive of any statutory sick pay that the established (in accordance with Clause 3.2.4.1) on the
Actor or member of Stage Management may be entitled to receive. For the avoidance anniversary of the commencement of the Contract and on
of doubt, the Actor or member of Stage Management is not entitled to statutory sick each subsequent anniversary during the term of the
3 pay in addition to Incapacity Salary. Contract. This is not affected by any additional Incapacity 3
Salary Period under clause 3.2.4.5.2.
3.2.3 Whether or not the Actor or member of Stage Management qualifies for statutory
sick pay shall not affect their entitlement to Incapacity Salary. If the Actor or member 3.2.4.5.4 Any remaining entitlement to statutory sick pay shall still be
of Stage Management does not qualify for Incapacity Salary this shall not affect any payable once the Incapacity Salary Period has been
entitlement to statutory sick pay in accordance with the current legislation. exhausted.

3.2.4 Incapacity Salary period 3.2.4.6 The Actor or member of Stage Management will not be entitled to
3.2.4.1 The annual Incapacity Salary Period of the Actor or member of Stage Incapacity Salary in the event of suffering an injury whilst undertaking
Management shall be: permitted work for a third party in accordance with Clause 2.2.4 (re
Exclusive Services) and being in receipt of injury remuneration from the
Duration of contract Applicable Incapacity Salary period third party.
0 to 13 Weeks 1 Week
14 to 26 Weeks 2 Weeks 3.2.4.7 In the event that a Production closes, or the Contract of an Actor or
27 to 39 Weeks 3 weeks member of Stage Management terminates before the Contract expires,
40 to 52 Weeks 4 weeks there shall be no payback of excess Incapacity Salary already received
by the Actor or member of Stage Management.
3.2.4.2 A “week” for the purposes of clause 3.2.4.1 shall mean the normal
working week of the Actor or member of Stage Management. 3.2.4.8 The Actor or member of Stage Management shall not be entitled to
Incapacity Salary in respect of any “unused” Incapacity Salary Period on
3.2.4.3 Absence due to illness or injury is pro-rated by Performances where an termination of their Contract for any reason.
Actor or member of Stage Management is absent for part of a day during
the Performance Period. If the absence is for one Performance of a two-
3.2.4.9 Other than when signed off work by a doctor, an Actor or member of
Performance day, then a half-day of incapacity will be applicable when
Stage Management who is suffering an illness or injury but who is ready,
calculating the Actor’s or member of Stage Management’s Incapacity
able and willing to perform, but is instructed by the Manager not to do
Salary Period. If the Artist is absent for two-Performances of a two-
so, shall continue to be paid their Salary. Any day so missed shall not
Performance day then a full day of incapacity will be applicable.
constitute part of their Incapacity Salary Period.
3.2.4.4 Where a Contract is extended, the Incapacity Salary Period shall be
adjusted to that applying under clause 3.2.4.1 to the duration of the 3.2.5 conditions
Contract as extended. 3.2.5.1 Incapacity Salary is payable subject to the Actor or member of Stage
Management meeting the following conditions in full.
3.2.4.5 On exhaustion of Incapacity Salary Period:
3.2.4.5.1 For Contracts up to and including 39 weeks’ duration: Once 3.2.5.2 The Actor or member of Stage Management must notify the Manager as
an Actor’s or member of Stage Management’s Incapacity soon as they know that they will be unable to work and should make
Salary Period (as detailed in 3.2.4.1) has been exhausted no every effort to do so by direct verbal communication.
further Incapacity Salary will be paid during the Contract.
3.2.5.3 An absence of up to 7 days must be supported by a completed self-
3.2.4.5.2 For Contracts of 40-52 weeks’ duration or Contracts which certificate on the Manager’s approved form. Thereafter a medical
are renewed / extended to be of 40-52 weeks’ duration: certificate is required. The Manager can require the Actor or member of
Once an Actor’s or member of Stage Management’s Stage Management to complete a ‘Return to Work’ form stating the
Incapacity Salary Period (as detailed in 3.2.4.1) has been reasons for any and all absence(s), including absences of up to 7 days.
exhausted they will be eligible to receive an additional 1 The Actor or member of Stage Management acknowledges that
week of Incapacity Salary Period. Such additional Incapacity falsification of any such information related to absence and incapacity
Salary Period will be paid at half of Incapacity Salary. may be treated as gross misconduct.
‘Incapacity Salary’: is the Actor or member of Stage Management’s Salary capped at double the Applicable Minimum Salary
‘Incapacity Salary Period’: is the period for which the Actor or member of Stage Management is entitled to Incapacity Salary

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3.2.5.4 If the absence is due to an injury sustained whilst working under the 3.2.6.2.3 an injury which was not sustained whilst working under
Manager’s direction an identifiable incident logged in the Manager’s the Manager’s direction shall be entitled to 100% of
accident book must exist. An Actor or member of Stage Management is Incapacity Salary subject to the Artist meeting the conditions
therefore urged to ensure that all events that may have caused them of this Clause 3.2.
harm are so logged. The Actor or member of Stage Management must
work as directed by the Manager including, but not limited to, taking part 3.2.7 Treatment costs
3 in all warm-ups and pre-show preparation called by the Manager, The Actor or member of Stage Management must at all times be aware of working 3
rehearsing and playing the part and undertaking work as directed. and behaving in ways which are appropriate for maintaining the ability to fulfill the
duties under this Contract and for maintaining health and safety in the workplace.
3.2.5.5 At the Manager’s request the Actor or member of Stage Management
must be examined by the Manager’s medical practitioner to verify the 3.2.8 Where an Actor or member of Stage Management has sustained an injury while
inability to work and must adhere to the practitioner’s therapeutic advice. working under the Manager’s direction, and requires treatment from a physician,
dentist, chiropractor, physiotherapist or osteopath in order to work safely:
3.2.5.6 Where the Actor or member of Stage Management is receiving treatment
or advice from a medical practitioner in relation to a condition which may 3.2.8.1 The Actor or member of Stage Management must consult with the
affect the Artist’s ability to fulfil their duties under this Contract and/or Manager and receive the Manager’s approval in advance of any treatment
contribute to the Artist’s absence due to illness or injury, the Manager being carried out. The Manager has the right of approval of the healthcare
has the right to access reports or information on the Actor’s or member provider, the type of treatment (including whether treatment is to be
of Stage Management’s condition. It is understood that this does not give provided privately or by the NHS) and any costs of the treatment.
the Manager the right to access medical reports or information for any
other reason(s). 3.2.8.2 The Manager will meet the costs of treatment only where their prior
approval has been given of the healthcare provider, the type of treatment
3.2.5.7 The Actor or member of Stage Management must not participate in any and of any costs if applicable.
dangerous sports or activities for the duration of this Contract without the
prior approval of the Manager. This includes, but is not limited to: 3.2.8.3 The Actor or member of Stage Management must provide the Manager
mountaineering or rock climbing; riding or driving in any kind of race; with full information relating to their treatment, including details of any
dueling or fighting; aeronautics or aviation other than as a passenger; ongoing treatment where applicable.
organised / competitive contact sports. If in doubt, the Actor or member
of Stage Management must check with the Manager whose decision 3.2.8.4 Where it is the opinion (given in writing) of the Actor’s or member of Stage
shall be final. Management’s physician, dentist, chiropractor, physiotherapist or
osteopath that treatment needs to continue after the end of their Contract
3.2.5.8 It is understood that participating in organised / competitive contact with the Manager, the Manager may at their discretion pay for reasonable
sports as laid out in 3.2.5.7 above does not in itself mean that the Actor ongoing treatment for a pre-agreed period provided that their prior
or member of Stage Management will be subject to disciplinary approval (as laid out in 3.2.8) has been given.
procedures; but if such participation leads to injury or any other inability
of the Actor or member of Stage Management to fulfil their duties under 3.2.9 In relation to any injury sustained while not working under the Manager’s direction, the
this Contract, then they will be subject to clause 3.2.6.1 below and Manager may, at the Manager’s discretion, elect to meet the cost of such treatment.
disciplinary procedures if applicable. This does not, however, remove the obligation on the Actor or member of Stage
Management to declare any pre-existing factor under clause 2.17.5 or to comply
3.2.6 Incapacity Salary with 3.2.5.7 and 3.2.7.
3.2.6.1 If the Actor or member of Stage Management is unable to fulfil their duties
under this Contract due to incapacity arising from contravention of clause 3.2.10 The Manager’s decision to meet the costs of treatment relating to any injury is in no
3.2.5.7 above, the Actor or member of Stage Management will not be way an indication of the Manager’s responsibility or liability for the injury.
entitled to Incapacity Salary but may be eligible for Statutory Sick Pay in
accordance with current legislation. 3.2.11 It is acknowledged and understood that the physically demanding nature of some
productions requires a wide range of measures to minimise and manage the risk of
3.2.6.2 Actor or member of Stage Management who is absent as a result of: injury. In such productions the Manager will consider providing preventative training,
3.2.6.2.1 illness shall be entitled to 100% of Incapacity Salary; coaching and support to ensure the safest possible working environment, and Artists
will engage with such measures as part of their responsibilities in managing safety at
3.2.6.2.2 an injury sustained whilst working under the Manager’s work.
direction shall be entitled to 100% of Incapacity Salary;

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3.3 Hours of Work 3.5 Sunday performances

3.3.1 In the event that an Actor or member of Stage Management does not complete a full For each Performance on a Sunday the Actor or member of Stage Management will receive
working Week for reasons of annual holiday, incapacity or similar, but excluding days an additional payment of ten percent of the Category B minimum – currently £64.74.
on which the Actor or member of Stage Management is not called by the Manager,
the Hours of Work for that Week shall be reduced by the number of hours that Actor 3.6 Additional performances
or member of Stage Management would have worked had they not been so absent. 3.6.1 Additional performances – Regular
3 For the purposes of this calculation this shall normally be taken as the number of Where the Artist’s Schedule is 100% 3
hours worked by other comparable Actors or members of Stage Management on 3.6.1.1 Any regular Performances additional to those set out in the Artist’s
that day. In the event that no comparable Actors or members of Stage Management Contract shall attract an additional pro-rata payment of the Artist’s
worked on that day, then the number of hours worked by the Actor or member of Performance Salary.
4 Stage Management themselves on the same day of the previous Week shall be taken
4
instead. Comparable shall mean comparing a member of Stage Management with Where the Artist’s Schedule is Not 100%
another member of Stage Management, a Cover with another Cover and so on. 3.6.1.2 Any regular Performances additional to those set out in the Artist’s
Contract shall attract an additional sum provided that the total earned by
3.4 Breaks the Artist shall not be less than the pro-rated Applicable Minimum Salary
3.4.1 During  Work for the number of Performances given.
3.4.1.1 Apart from Performances, within a Call of three hours or more, there shall
be a break of at least 15 minutes towards the middle of the Call. 3.6.2 Occasional Additional performances
If, after the Production has opened and other than during Periods of Flexible
3.4.1.2 Apart from Performances, meal breaks shall be not less than one hour and Scheduling, the Manager wishes to give occasional additional performances the Artist
shall be taken at least once every 5 hours where reasonable and practicable. shall be given not less than 2 Weeks’ prior notice. There will be no more than 1
additional Performance given in any 8 Week period unless the Artist consents, such
3.4.2 pre-performance consent not to be unreasonably withheld.
Where the anticipated time between the beginning of a rehearsal Call and the end of
the Performance Time is less than 5 hours, Calls must finish not less than 1 hour 3.7 Rehearsals
before the advertised curtain-up time for the performance. Where the anticipated 3.7.1 Duration of Rehearsal period
time is in excess of 5 hours then there must be a break of at least 55 minutes before The Manager shall ensure that there is an adequate Rehearsal Period for all Actors
the Actor’s or member of Stage Management’s Performance Call. Following a travel or members of Stage Management and in particular:
Call when on tour there shall be a break of not less than 85 minutes between the end
of the travel Call and the Actor’s or member of Stage Management’s Performance Call. 3.7.1.1 A new production shall have a main Rehearsal Period of at least 3 Weeks
(4 Weeks for musicals). Particular Performers may have shorter Rehearsal
3.4.3 Between performances Periods provided that Equity is notified beforehand.
Where the anticipated time between the beginning of a matinee Performance and the
end of the second Performance is less than 5 hours, a break of at least 40 minutes 3.7.1.2 In the event of 75% or more of the Actors being replaced at any one time
must be given between curtain down on the first Performance and curtain up on the there shall be a Rehearsal Period of at least 2 Weeks.
second. Where the anticipated time is in excess of 5 hours, then there must be a
break of at least 65 minutes. This break may be reduced by agreement with Equity 3.7.1.3 A Walking Understudy shall normally be engaged in sufficient time to
after consultation with the cast. ensure that they receive at least 2 Weeks’ rehearsal in the Rehearsal
Period.
3.4.4 Overnight
An overnight gap of at least 12 hours which may be reduced to 11½ hours during 3.8 Billing
cast replacement rehearsals. Where the names of all the Actors or members of Stage Management appearing in the
Production are not billed on a poster or otherwise, the Manager shall place in the Front of House
3.4.5 Travel a board on which the names of all the Actors or members of Stage Management appearing
If the Manager requires the Actor or member of Stage Management to travel between in the Production are listed in alphabetical order. For cast replacements such order may be
Calls, these breaks shall be exclusive of the time required for the journey. varied at the Manager’s discretion. Where cast and creatives are named on the Managers
website and / or on digital boards, then the Stage Management team should be named as
3.4.6 Schedules well.
The Manager will endeavour to arrange work so as to leave a minimum of unused
time (other than compulsory breaks) within the day.

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3.9 EpKs 5 3.9.3.3.3 for the further use of a Making Of Documentary, a payment
3.9.1 Recording of an EpK of £270.00 to the Actor or Stage Manager will cover a 3
3.9.1.1 During each year of an Artist’s Contract the Manager may make a year licence period in rest of world territories (excluding UK).
recording of up to 10 minutes completed edited footage , at the Actor’s
or member of Stage Management’s normal place of work, for the express 3.9.3.3.4 for the use of EPK footage for touring productions of the
purpose of promoting, publicising or advertising the Production. The West End Production or overseas production over and
3 Manager shall notify Equity not less than 10 clear days (including beyond the 4 Weeks allowed in 3.9.3.1, the Manager shall 3
weekends) before any recording takes place. pay the Actor or Stage Manager £15.00 each calendar
month that the EPK is used for worldwide use. This
3.9.1.2 Footage for such EPK recording may be re-filmed and/or re-edited in payment will secure all uses in 3.9.3.1.
order to ensure that the EPK is up-to-date and therefore able to fulfil its
promotional functions as laid out in 3.9.1.1. No additional payments are 3.9.3.4 Any use of material from the EPK not covered in clauses 3.9.3.3.1 to
due to the Actor or member of Stage Management in respect of this re- 3.9.3.3.4 shall be subject to prior agreement between the Manager
filming or re-editing unless out of Hours of Work. and Equity. 5
3.9.1.3 Hours worked by the Actor or member of Stage Management in connection 3.9.3.5 If the Manager receives income over and above costs for a Making Of
with such recordings in 3.9.1.1 and 3.9.1.2 are paid as Hours of Work. Documentary then the Actor or member of Stage Management will
receive payment for this as laid out in clause 3.9.3.3.
3.9.2 consent
The Actor or member of Stage Management consents to the recording and use of 3.9.3.6 For the avoidance of doubt the terms in this clause 3.9 cover only the
the EPK providing that, for any further use, the additional sums specified in clause recording of EPK subject to the recording limits set out in clause 3.9.1.1
3.9.3.3 are paid.
This clause 3.9 does not cover any more extensive or complete recording
of the production. Any other intended recording of excerpts of live and
3.9.3 uses and payments
rehearsed parts of a Production is subject to the terms and conditions of
3.9.3.1 The Manager may without payment use the product of the recording for
the appropriate recording agreement and the Actor or member of Stage
any Narrowcast; worldwide TV/radio/cinema/internet commercial
Management agrees to good faith negotiations to enable any such
campaign for West End production only; incorporation within a Making Of
recording to be made. Any hours worked under such other agreement
Documentary for 2 UK network transmissions or 1 UK network
transmission and 1 UK secondary channel; broadcast use on television shall not accrue to the hours worked under this Agreement and the Actor
or related media in news, topical magazine, light entertainment shows or member of Stage Management hereby agrees that they shall not look
(including but not limited to chat shows, game shows), documentaries to the Manager for any compensation for such other recording.
and awards programmes; and broadcast and non commercial use as set
out in this clause 3.9.3.1 to promote subsequent productions worldwide 3.9.4 The parties to this Agreement agree to meet at least annually to discuss any advances
until 4 Weeks after the Press Night of the subsequent production. in technology that bear on the wording of categories of usage in this clause 3.9.

3.9.3.2 Use under the heading of worldwide TV/radio/cinema/internet 3.10 Other Recordings
commercial campaign for West End production and promotion of 3.10.1 cast Albums
subsequent production worldwide are limited to 10 years from the date If a cast album is to be recorded the Actor shall be given at least 14 working days’ notice.
the EPK was first used for such purpose.
3.10.2 Background and Audio-visual Recordings
3.9.3.3 In the event that the EPK is used in any of the ways set out in clauses 3.10.2.1 The Manager may use stock recordings and may make audio, visual and
3.9.3.3.1 to 3.9.3.3.4 then the Actor or Stage Manager shall be entitled audio-visual recordings to be used within the Production. This may
to receive the payments stated from the broadcasting company concerned: include recording snatches of lyrics, crowd noises or individual or group
voice-tracks to be used as background to the Production. The Actor’s
3.9.3.3.1 for the further use of a Making Of Documentary, a payment participation in such recording(s) shall form part of Hours of Work subject
of £270.00 to the Actor or Stage Manager will cover a 3rd to relevant overtime payments if applicable.
and any subsequent UK terrestrial transmission.
3.10.2.2 The Actor shall not be due any further payments for the Manager’s use
3.9.3.3.2 for the further use of a Making Of Documentary, a payment of the audio, visual, and audio-visual recording(s) for the duration of the
of £135.00 to the Actor or Stage Manager will cover a further Manager’s licence in the Production provided that the material concerned
3 transmissions of the Making Of Documentary, on any UK shall be re-recorded if:
secondary channel (excluding BBC1,ITV1,C4,5 and S4C).
5 Please consult SOLT for details of arrangements relating to EPKs made prior to 2009.

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 SCHED ULE 3 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO ACTOR S AND STAGE MA NAGEM ENT ONLY SCH EDUL E 4 – MINIMUM TE R MS AND CON DIT IONS APPLY ING TO PE R FOR M ER S ONLY

3.10.2.2.1 any Actor leaves the Production whose contribution is 4 ScHEDuLE 4 – MINIMuM TERMS AND cONDITIONS AppLyING
publicly individually identifiable. TO pERFORMERS ONLy
4.1 Responsibilities
3.10.2.2.2 in the instance of audio and audio-visual recordings, any 4.1.1 A Performer shall perform the part as set by the members of the creative team.
Actor leaves the Production whose appearance is identifiable
for more than a fleeting glimpse as may be reasonably 4.1.2 A Performer may be required to move scenery, furniture or properties in or out of character
3 understood. but if this is out of sight of the audience this may only be done for artistic reasons.

3.10.2.3 The Manager shall not specially record singers for use within a production 4.2 costumes, Make up & Hair
where the Actors engaged on that Production may reasonably expect to 4.2.1 costumes
be used for that recording. 4.2.1.1 The Manager shall supply all costumes and wigs for the Production and
4
the Performer undertakes to take good care of items so provided by the
3.10.3 Archival Recordings Manager.
The Manager shall be entitled (without payment to the Actor or member of Stage
Management) to make a video recording of a Performance strictly and solely for the 4.2.1.2 All costumes and wigs shall be kept clean and in a good state of repair.
archival purposes of the Manager and for no other use whatsoever other than the No costume shall be given to the Performer unless it has been properly
exceptions in 3.10.3.1 and 3.10.3.2. The Actor or member of Stage Management by cleaned. If in an Emergency, a Performer is given a costume which has
signing this contract consents to the recording and its use under this clause. not been properly cleaned then full protective undergarments will be
provided.
3.10.3.1 Assisted performances
Such archive recording may be made available to organisations involved 4.2.1.3 Costumes or other articles provided by the Manager shall not be removed
in the provision of an assisted performance of the Production. from the theatre or used by the Performer in any private capacity. The
Performer agrees to wear on stage and surrender at the termination of
3.10.3.2 Such archive recording may be made available to national archives the Production the costumes or other articles provided by the Manager.
including without limitation the NVAP and that the NVAP may use up to
one minute from that Archive Video to be used on their website. 4.2.1.4 When a Performance is so strenuous that the Artist needs to change their
T-shirt or underwear or tights either between Performances or in order to
3.10.4 curtain calls go home after the Performance the Manager shall where appropriate
For the avoidance of doubt the provisions of clauses 3.9, 3.10.1 and 3.10.3 do not provide the T-shirt and underwear or tights as necessary.
apply to recording of curtain calls, which are deemed not to form a part of the
Performance for this purpose only. 4.2.1.5 Where the costumes provided are worn directly next to the skin, the
Performer shall not share the costume with any other Performer.

4.2.1.6 Any footwear which is modern or conventional must be new; if period

footwear is provided, it shall be well-fitting, clean, sanitary and in good
repair. If the Manager provides footwear for dancing then it shall be
footwear suitably manufactured for dancing.

4.2.2 Dressers
4.2.2.1 The Manager shall provide a dresser (not necessarily exclusive to the
Performer) if required by the dictates of the Production.

4.2.2.2 Stage Management shall only be required to assist with dressing duties
in an Emergency and/or to give minor assistance with quick changes.

4.2.3 Hire of performer’s Own costume

4.2.3.1 If it is agreed between the Manager and the Performer that the Performer
shall provide some of their own costume items then a hire rate shall be
agreed between them which shall be payable in addition to the Artist’s
Salary. In consideration of this these costumes shall remain on hire for as
long as the Manager requires subject to the Performer’s continuing under
Contract.

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4.2.3.2 The Manager shall also pay for the necessary cleaning and washing of 4.4 Other provisions
such costume. All costumes provided by the Artist shall remain their 4.4.1 Flying
property and shall be worn only by the Artist, but shall not be removed Unless it has been agreed as a part of the Contract, the Performer shall have the right
from the theatre during the period of hire without the consent of the to refuse to be lifted for flying. This does not apply where a harness is worn purely
Manager. for health and safety reasons and the Performer is not lifted.

4.2.4 Make-up 4.4.2 Nudity

Where specialised or body make-up is required, the Manager shall provide it, as well The Performer’s employment hereunder shall be subject to the Regulations agreed
as suitable make-up remover and an adequate supply of towels. between the Theatres’ National Committee and Equity dated 1st January 1971 relating
to nudity and simulated sex acts set out in Schedule 11.
4 4.2.5 Hair
4
If the Performer is required to have a particular colour or style of hair for the Production
the Manager shall so inform the Performer at the time of their employment and meet
the cost of such changes, and pay for the maintenance of its colour and style and
for the cost of restoring the hair to its original colour and style, where reasonable and
practicable, provided that the Performer shall not have changed such style or colour
(without being required by the Manager so to do) after being auditioned or engaged.
The choice of hairdresser shall be at the Manager’s discretion with prime 6
consideration being given to the desirability of using the Performer’s usual hairdresser.

4.3 publicity
4.3.1 General
Once a Performer has left a production their name and photograph, subject to clause
4.3.2.3 and 4.3.2.4, shall be dropped from all advertising and publicity as soon as
reasonable and practicable and in any event for all new material.

4.3.2 photographs
4.3.2.1 The Manager shall use their best endeavours to ensure that photographs
of the Artist, taken by a photographer employed by the Manager, shall not
be published for any purpose other than publicity for or advertisement of
the Production.

4.3.2.2 If the Manager wishes the Artist to pose for photographs involving any
element of nudity the Manager must obtain the Artist’s prior consent and
the Artist’s written consent for the release of any nude photographs must
also be obtained.

4.3.2.3 Photographs of the Production displayed at the theatre and in the

programme shall normally be of the current cast. If a photograph of a
previous cast is displayed at the theatre, it shall be described as such.

4.3.2.4 Other than for temporary changes due to illness or holiday, photographs
containing Performers no longer in the play shall be replaced if more than
4 Performers who are physically or facially identifiable in the photograph
have left and been replaced. However, a Performer no longer in the
Production may request that their photograph is removed and may refer
the matter to The Theatre Council if the Manager unreasonably refuses.

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5 ScHEDuLE 5 – MINIMuM TERMS AND cONDITIONS AppLyING TO AcTORS ONLy 5.4.2.2.2 If the actual working time for a rehearsal on a Public Holiday
(see Schedule 8 for Actor-Musicians) – as distinct from a Performance or any warm-up associated
with it – is less than 4 hours then the figure of 4 hours shall
5.1 Responsibilities be used rather than the actual time worked for the purposes
5.1.1 An Actor who is a member of the Ensemble may within their Ensemble Salary be of clause 5.4.2.3.2.
required to perform up to 3 Features within that Part.
5.4.2.3 Premium hours
5.1.2 If an Actor who is a member of the Ensemble is required to perform more than 3 5.4.2.3.1 Payment for any work between 23:30 and 08:00 is at
Features then they shall receive an Extra Feature payment. double the Actor’s hourly rate based on the actual hours
worked with no rounding. Payment for any work on a
5.2 Salaries Nominated Rest Day shall be subject to the minimum Call
5.2.1 An Actor whose Salary is subject to a percentage of gross box office receipts or adjustment under clause 5.4.2.2.1 at double the Actor’s
recoupment arrangement shall (after giving reasonable notice) be entitled to have access hourly rate. The hours are also included in the calculation of
5 (personally or through an Agent) to the Manager’s Accountants’ Certified Statement the working hours and may count towards any overtime. 5
of such gross receipts or (if applicable) that such recoupment has been achieved.
5.4.2.3.2 Payment for all work on a Public Holiday is at the Actor’s
5.2.2 If, on a renewal of Contract, an Actor is employed to play a Part that the Actor has single time hourly rate and based on the actual hours
not previously Covered then rehearsals for that Role shall be payable as overtime at worked with no rounding other than the minimum Call
time and a half and such hours shall not count towards the weekly total. adjustment under clause 5.4.2.2.2. The hours are also
included in the calculation of the working hours and may
5.3 Hours of Work count towards any overtime.
5.3.1 During a full working Week in the Rehearsal Period, the Actor’s Salary covers 45 7
Hours of Work inclusive of breaks. 5.4.2.4 Additional hours
Overtime at 1½ times the Actor’s hourly rate should be calculated in the
5.3.2 In a Broken Week changing from the Rehearsal Period to the Performance Period as following order:
in clause 2.2.8, the Hours of Work shall be 45 less 50 minutes for each day on which 5.4.2.4.1 any missed breaks should be paid first in units rounded up
a Performance is given. to the nearest 15 minutes. The time so paid is then
disregarded for all other overtime purposes;
5.3.3 During a full working Week in the Performance Period, the Actor’s Salary covers 40
Hours of Work exclusive of all breaks other than the 15 minute breaks set out in 5.4.2.4.2 Overtime is then payable on any hours in excess of the
clause 3.4.1.1. Hours of Work laid out in clause 5.3 excluding breaks. For
this purpose only any fractional hour of up to 5 minutes shall
5.4 Overtime round up to the nearest 15 minutes and any greater
5.4.1 Overtime fractional hour shall round up to the nearest 30 minutes.
5.4.1.1 Work on the Nominated Rest Day shall be deemed to be work called for
that day rather than a continuation of the previous day’s work and shall 5.4.3 payment
be subject to a 4 hour minimum Call. 5.4.3.1 Overtime shall be calculated on the basis of the hourly rate of the Actor’s
Applicable Minimum Salary. During the Rehearsal Period this shall be 1/45
5.4.2 calculation of Hours of the Applicable Minimum Salary and during the Performance Period
5.4.2.1 The recording and calculation of hours shall be based on the actual time this shall be 1/40 of the Applicable Minimum Salary.
from the Call for work or the arrival time of the Actor if later to the end of
the scheduled Call or the Actor’s release if earlier. At this stage there is
no round up or minimum Call applied. This is the number of hours that is
recorded for the purposes of the Working Time Regulations.
5.4.2.2 Minimum calls
5.4.2.2.1 If the actual working time on a Nominated Rest Day is less
than 4 hours then the figure of 4 hours shall be used rather
than the actual time worked for the purposes of clause
5.4.2.3.1.

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6 ScHEDuLE 6 – MINIMuM TERMS AND cONDITIONS AppLyING 6.3.4 company Stage Manager
TO STAGE MANAGEMENT A Stage Manager may agree to undertake additional duties for the Manager as a
6.1 Responsibilities Company Stage Manager and in this event shall receive an additional agreed amount
6.1.1 The Stage Management shall ensure that accurate records are made and kept of above the Stage Manager’s minimum for these duties.
hours worked and breaks taken by all Artists and any other paperwork reasonably
required by the Manager. 6.3.5 Transfer of Duties
If a member of the Stage Management is required to undertake the duties of a more
6.1.2 The Stage Management shall endeavour to ensure that rehearsals run to schedule senior member of Stage Management on account of that senior member not being
and that all Artists receive proper breaks. available to fulfil their own role, either through absence or because they themselves
are covering a more senior role, the minimum salary shall be Not Less Than the
6.1.3 The Stage Management shall ensure that accurate records are made and kept of all Minimum Salary for that senior member’s grade plus the difference between the
moves and business. member’s own Salary and the Applicable Minimum Salary for their grade.
6.2 Staffing 6.4 Hours of Work
6.2.1 The Production shall have a Stage Management team that can safely manage the 6.4.1 Stage Management Salaries cover 42 Hours of Work a Week and up to 8 Hours of
complexity of the production. Equity shall have the right to ask the Manager to Work a day exclusive of all breaks other than the 15 minute breaks set out in clause
consider the employment of further Stage Management if it believes this to be 3.4.1.1.
necessary.
6 6.5 Overtime 6
6.2.2 The Production shall employ not less than 3 members of Stage Management and in 6.5.1 The Working Day
the case of a play only the lowest paid of these may be an Actor with additional Stage 6.5.1.1 The Manager may require Stage Management to work more than 8 hours
Management duties. a day subject to additional payment as set out in this clause 6.5.
7 7
6.2.3 The minimum Stage Management team for the Production shall be employed from 6.5.1.2 Other than during cast replacement rehearsals, isolated morning Calls
the beginning of the Rehearsal Period. Additional members of the Stage Management should not normally occur. In the event this does occur, a Call that finishes
including those employed only for the Rehearsal Period may start once full rehearsals by 14:00 and is followed by a break of at least 2 hours will be subject to
begin. In the case of musicals, rehearsals consisting only of Artists learning music or a 2 hour minimum Call.
dancers being choreographically rehearsed shall not be considered rehearsals for
the purpose of this clause. 6.5.1.3 Work on the Nominated Rest Day shall be deemed to be work called for
that day rather than a continuation of the previous day’s work and shall
6.2.4 Subject to any prorating necessary to reflect the Artist’s Schedule: be subject to a 4 hour minimum Call.
6.2.4.1 the senior member of the Stage Management shall be paid Not Less
Than the Applicable Minimum Salary for Stage Managers; the next most 6.5.1.4 The Manager agrees to use best endeavours to ensure that at no time is
senior member shall be paid Not Less Than the Applicable Minimum the Stage Management required to continue to work from midnight to
Salary for Deputy Stage Managers; and 08:00 having already worked a full day up to midnight. Should this ever
occur, it must be followed by a rest period of at least 8 hours.
6.2.4.2 where a Stage Manager undertakes additional duties of Company
Manager or business management they shall be paid a Salary in excess 6.5.2 calculation of Hours
of the Applicable Minimum Salary for Stage Managers. 6.5.2.1 The recording and calculation of hours for the purposes of the Working
Time Regulations shall be the actual time from the Call for work or the
6.2.5 Applications to vary the minima set out in clause 6.2.4 shall be made to Equity not arrival time of the Artist if later to the end of the scheduled Call or the
less than 21 days prior to the Rehearsal Period and Equity shall respond within 14 Artist’s release if earlier, with no rounding up or minimum Call applied.
days.
Minimum calls
6.3 Minimum Salaries 6.5.2.1.1 If the actual working time on a Nominated Rest Day is less
6.3.1 The Minimum Salary for Assistant Stage Managers shall be as set out in clause than 4 hours then the figure of 4 hours shall be used rather
2.3.1.5.3. than the actual time worked for the calculations in clause
6.5.2.2.
6.3.2 The Minimum Salary for Deputy Stage Managers shall be Not Less Than either the
Minimum Salary set out in clause 2.3.1.5.3 plus £65.00. 6.5.2.1.2 If the actual working time for a rehearsal on a Public Holiday
– as distinct from a Performance or any warm-up
6.3.3 The Minimum Salary for Stage Managers shall be Not Less Than either the Minimum associated with it – is less than 4 hours then the figure of 4
Salary set out in clause 2.3.1.5.3 plus £130.00. hours shall be used rather than the actual time worked for
the calculations in clause 6.5.2.2.

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6.5.2.1.3 If the actual working time for a Call falling completely within 6.6 Other provisions
clause 6.5.1.2 is less than 2 hours then the figure of 2 hours 6.6.1 Extra Services
shall be used rather than the actual time worked for the If any member of the Stage Management is required to undertake any services related
calculations in clause 6.5.2.2. to the Production (either directly or indirectly) for a third party, a separately negotiated
fee shall be paid which, in the case of the preparation of a prompt script or acting
6.5.2.2 Premium hours edition, shall be Not Less Than the member’s Salary.
6.5.2.2.1 Payment for any work between 23:30 and 08:00 is at
double the member of Stage Management’s hourly rate 6.6.2 Work for Other productions
based on the actual hours worked with no rounding. Any services performed by a member of the Stage Management for the Manager but
Payment for any work on a Nominated Rest Day shall be not related to the Production (e.g. auditions for another production) shall be paid for
subject to the minimum Call adjustment under clause at a negotiated fee which shall be Not Less Than the single time overtime rate for all
6.5.2.1.1 at double the member of the Stage Management’s hours worked.
hourly rate. The hours are also included in the calculation of
the working hours and may count towards any overtime. 6.6.3 Blacks/Appearance on Stage in costume
6.5.2.2.2 Payment for all work on a Public Holiday is at the Stage 6.6.3.1 The Stage Manager may be required to undertake stage management
Management’s single time hourly rate and based on the duties on stage in blacks and/or in costume on stage.
actual hours worked with no rounding other than the
6 minimum Call adjustment under clause 6.5.2.1.2. The hours 6.6.3.2 If the Stage Manager is required to appear in costume in a Performance 6
are also included in the calculation of the working hours and on stage, the Stage Manager shall be paid the sum of £7.45 for each
may count towards any overtime. Performance and shall be provided by the Manager with any make-up
required.
6.5.2.3 Additional hours
6.5.2.3.1 Overtime at 1½ times the Stage Management’s hourly rate 6.6.3.3 The Manager shall provide and maintain all blacks including footwear
should be calculated in the following order: which shall remain the Manager’s property.
6.5.2.3.2 any missed breaks should be paid first in units rounded up 8
to the nearest 15 minutes. The time so paid is then 6.6.4 Dressing Rooms
disregarded for all other overtime purposes; The Manager shall use best endeavours to provide adequate office and dressing
room space for the use of Stage Management.
6.5.2.3.3 overtime is then payable on any hours in excess of 8
(exclusive of meal breaks). For this purpose any fractional 6.6.5 Betterment
hour of up to 5 minutes shall be rounded up to the nearest A member of Stage Management may terminate the employment at any time at least
15 minutes and any greater fractional hour shall be rounded 13 Weeks after the West End Press Night by giving the Manager notice in accordance
up to the nearest 30 minutes. The time so paid is then with clause 6.6.5.4 and written evidence of an offer and acceptance of a position:
disregarded for all other overtime purposes; 6.6.5.1 as a DSM in another theatrical production (if the employment is solely as
an ASM); or
6.5.2.3.4 Weekly overtime is then payable on any remaining hours in
excess of 42 excluding breaks. For this purpose any
6.6.5.2 as Stage Manager or Company Stage Manager in another theatrical,
fractional hour of up to 5 minutes shall be rounded up to the
television or film production (if the employment hereunder is as a DSM);
nearest 15 minutes and any greater fractional hour shall be
or
rounded up to the nearest 30 minutes.
6.5.2.3.5 For guidance, not more than 6 hours a Week can accrue as 6.6.5.3 mutually agreed to constitute betterment.
Weekly overtime.
6.6.5.4 Any such notice must expire at the end of a Week and in each case not
6.5.2.4 Payment of Overtime less than 6 Weeks’ prior notice must have been given.
Overtime shall be calculated on the basis of the member of Stage
Management’s hourly rate which shall be 1/42 of the Stage
Management’s Salary capped at 150% of the Base Salary of the Category
of theatre which the member of Stage Management is contracted for.
This gives the single time rate.

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SCHED ULE 7 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO COVER S ONLY

7 ScHEDuLE 7 – MINIMuM TERMS AND cONDITIONS AppLyING TO cOvERS ONLy 7.1.2 Walking understudies
(see Schedule 8 for Actor-Musician covers) Weekly payments
7.1.2.1 A Walking Understudy shall not be entitled to an Understudy Responsibility
7.1 payment Payment for Covering either 1 Leading Role or 2 Supporting Roles. Additional
7.1.1 understudies roles over this number are paid under clause 7.1.1.5.1 or 7.1.1.5.3.
Minimum cover
Performance payments
7.1.1.1 The Manager shall provide adequate and suitable Cover for the Production
7.1.2.2 Walking Understudies shall not receive an Understudy Performance
except for one-person shows.
Payment for the first 2 Performances given in any Week. Additional
Understudy Performances over this number are paid under clause
7.1.1.2 No Cover shall understudy in more than one theatre at a time.
7.1.1.5.2, 7.1.1.5.4 or 7.1.1.5.6.
7.1.1.3 In all productions with less than 8 Parts there shall be a minimum of one Termination
Walking Understudy. 7.1.2.3 A Walking Understudy may terminate the employment at any time at least
26 Weeks after the West End Press Night by giving the Manager notice
7.1.1.4 Applications to vary these clauses shall be made to Equity not less than in accordance with clause 7.1.2.5.
21 days prior to the beginning of the Rehearsal Period and Equity shall 7.1.2.4 A Walking Understudy may terminate the employment at any time at least
respond within 14 days. Equity shall have the right to ask the Manager to 13 Weeks after the West End Press Night by giving the Manager notice
consider the employment of further Understudies if it believes this to be in accordance with clause 7.1.2.5 and written evidence of an offer and
necessary. their acceptance of a Part – as distinct from a Cover – in another
theatrical, television or film engagement.
7.1.1.5 Covers may be for Leading Roles, Supporting Roles, Minor or Crowd
7 Roles, Ensemble or Features. 7.1.2.5 Any such notice must expire at the end of a Week and in each case not 7
less than 6 Weeks’ prior written notice must have been given.
Leading Roles
7.1.1.5.1 For each Leading Role Covered not falling under clause 7.1.3 Swings/Feature cover
8 Payments
8
7.1.2.1, the Cover shall receive an Understudy Responsibility
Payment of Not Less Than £28.00. 7.1.3.1 Swing track responsibilities shall be set by the Final Understudy
Rehearsal.
7.1.1.5.2 For each Performance of a Leading Role not falling within 7.1.3.2 For Swinging the Ensemble the Cover shall receive an additional Weekly
clause 7.1.2.2, and subject to the limit set out in 7.1.5.1, the payment of Not Less Than £69.00.
Cover shall receive an Understudy Performance Payment of
Not Less Than £28.00. 7.1.3.3 For any Performance as Ensemble the Cover shall not receive a further
payment. This applies to performing up to 3 Features during a Performance.
Supporting Role 7.1.3.4 Other than in an Emergency (see clause 7.1.4), a member of the
7.1.1.5.3 For the first and each subsequent Supporting Role not Ensemble Covering a Feature of another member of the Ensemble shall
falling under clause 7.1.2.1 the Cover shall receive an not be entitled to additional payment unless by such Covering they
Understudy Responsibility Payment of Not Less Than perform more than 3 Features at a Performance.
£18.25.
7.1.3.5 For Swinging any further Features above 3 a Cover shall receive a pro-
7.1.1.5.4 For each Performance of a Supporting Role not falling within rata share of the Extra Feature sum that the Actor Covered receives. The
clause 7.1.2.2, and subject to the limit set out in 7.1.5.1, the pro-rating shall be on the basis of the Weekly Extra Feature payment
Cover shall receive an Understudy Performance Payment of divided by the Performance Schedule.
Not Less Than £18.25. 7.1.3.6 For the avoidance of doubt if a Swing does not perform all of the Features
belonging to an Actor who receives an Extra Feature payment – for
Minor or Crowd Roles example if the Features are divided across several Swings – then they will
7.1.1.5.5 For Minor or Crowd Roles, the Cover shall not receive an not be entitled to additional payment. The governing factor is how many
Understudy Responsibility Payment. Features an Actor performs at a Performance.
Termination
7.1.1.5.6 For each Performance of a Minor or Crowd Role given, subject
7.1.3.7 For the avoidance of doubt, the termination rights of Walking Understudies
to the limit set out in 7.1.5.1, the Cover shall receive an
do not apply to Swings.
Understudy Performance Payment of Not Less Than £8.43.

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 SCHED ULE 7 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO COVER S ONLY S CH EDULE 7 – MI NIMUM T ER M S A ND CONDI TI ONS AP PLYI NG TO COV ER S ON LY

7.1.4 Emergency cover 7.2.1.2 A Cover shall not normally be required to perform without at least two
7.1.4.1 If, in an Emergency, a Performer is requested to undertake a Role, or part Weeks’ rehearsal and no Artist shall normally be required to appear with
of a Role, which is outside their normal duties, the Performer shall receive an Understudy who has not been adequately rehearsed.
an Understudy Performance Payment of £8.43 for each Performance.
7.2.2 Standing in at Rehearsals
7.1.4.2 If, in an Emergency, a member of the Ensemble who is not a Swing covers If after the Final Understudy Rehearsal the Cover is required to stand in at rehearsals
a Feature of another member of the Ensemble the Performer shall receive for the Actor whose Part the Cover is understudying when that Actor has been called,
£4.10 for each Performance. they shall be paid one half of their understudying Performance fee for that day. Such
half fee shall be deducted from the Salary of the Actor who did not attend the Call
7.1.5 provisos other than when the absence occurs as a result of illness or injury.
7.1.5.1 In a musical, a Cover for a Performer whose Salary exceeds £1,200.00
need not be paid in any Week any more by way of Basic Salary and 7.2.3 Open Rehearsal
Understudy Performance Payments than the Basic Salary of such The Manager will give one open rehearsal of the Production (to which Agents, Casting
Performer. Directors and Producers, as mutually agreed, are invited) each calendar year, if
requested to do so by the Understudies, the date thereof to be mutually agreed
7.1.5.2 Understudy Responsibility Payment shall commence from the date at between the Managers and the Understudies.
which responsibility for Covering is assigned provided that a Cover
engaged to understudy as required shall receive Understudy 7.3 General
Responsibility Payment from the start of their Rehearsal Period for any 7.3.1 performances
Covers that are assigned during the Rehearsal Period only. Once an Understudy has commenced a Performance the Understudy shall be
allowed to complete that Performance.
7 7.1.5.3 Other than where the Artist requests the change, once an Artist has been 7
assigned Covering responsibility and the rate has been agreed, the 7.3.2 Order of understudies
Understudy Responsibility Payment cannot be withdrawn even if the The Manager shall ensure that an up to date list is posted on the notice board stating
responsibility is subsequently withdrawn or reassigned. If the Understudy which Covers are most likely to be used for each Role. 8
Responsibility specified as part of the Artist’s Contract as originally agreed
is withdrawn, the Manager shall inform the Artist of the reason(s) for 7.3.3 Billing and programme
withdrawal and the Artist shall have the right to give 4 Weeks’ notice of Unless the Cover specifies otherwise at the time of the signing of the Contract, the
the termination of the employment. This right shall be exercisable within Cover shall be billed as the Understudy and have a photograph(s) and biography
14 days following such withdrawal. included in the programme. This may only be varied subsequently if the Artist’s duties
are changed but any consequent variation in the programme need not be made until
7.1.5.4 If the Cover’s Contract states that the Cover will be invited to perform in the next reprinting thereof.
the absence of the Actor playing the Role, then should the Manager
choose another alternative instead, when the Cover is ready able and 7.3.4 Audience Notification of cast changes
willing to perform, the Cover shall receive the Performance payment as The Manager will notify the audience of the name of the replacement Artist or
though the Performance had been given. Understudy who is performing in a Performance and the character portrayed as well
as the Artist who is being replaced. This notification may be done by any one or more
7.1.5.5 If the Performer who plays a Role is not in the theatre by the Performance reasonable method(s) of communicating this information at the Manager’s discretion,
Call the Understudy shall be deemed to be on notice to perform and shall including but not limited to: slipping programmes, a written notice of reasonable size
be paid one-half of the Performance fee if the Performer should not in which is prominently displayed in the foyer, an audio public announcement.
fact be required to perform. Such half fee shall be deducted from the
Salary of the Performer who, though late in arriving at the theatre, is 7.3.5 costumes
allowed to perform. Appropriate costumes for every Understudy must be available before the opening of
the Production or within 7 days of acceptance of any Understudy responsibility not
7.2 Rehearsal covered in the original Contract except where the costumes are particularly unusual
7.2.1 Rehearsals or complex in which case they should be provided as soon as possible.
7.2.1.1 All Covers shall be given sufficient rehearsal in the Rehearsal Period and
from time to time thereafter including occasional runs with such costume, 7.3.6 Replacement of a Leading performer
props and effects as are germane to the Part. Where the contract of a Leading Actor is terminated then a replacement will normally
be contracted within 4 Weeks. An Understudy who wishes to be considered as a
take-over shall have the right to be auditioned for the Role.

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 SCHED ULE 8 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO ACTOR -MU SICIANSS S CH EDUL E 8 – MIN IMUM T E R MS AND CON DIT IONS APPLYING TO AC TOR -MUS ICIA NSS

8 ScHEDuLE 8 – MINIMuM TERMS AND cONDITIONS AppLyING 8.3.4 Where the Cover giving a Performance as an Actor-Musician shares with other
TO AcTOR-MuSIcIANS Artist(s) any element(s) of the instrument-playing of the Leading or Supporting Role
being Covered, the Understudy Performance Payment in 8.3.3 will be shared equally
8.1 Salaries during Rehearsal period among such Artists.
8.1.1 The Minimum Rehearsal Salary for an Actor-Musician shall be equal to the sum of
50% of the Base Salary added to 50% of the ‘Minimum Weekly Salary’ under the 8.4 covering – where an Artist is engaged as an Actor-Musician and as cover for an
prevailing SOLT/Musicians Union (MU) Agreement. Actor-Musician
8.4.1 For Covering of Leading or Supporting Role(s) not falling under clause 8.5 the
8.1.2 Where an Actor-Musician is engaged to appear in a theatre included within the provisions of clauses 7.1.1.5.1, 7.1.1.5.2, 7.1.1.5.3, and 7.1.1.5.4 apply.
prevailing SOLT/MU Agreement’s exceptions of rates for certain theatres (currently
known as the ‘Small Theatres Agreement’) the SOLT/MU salary used to form the 8.4.2 There is a shared understanding between the Manager and the Artist that a certain
calculation in 8.1.1 shall be such ‘Small Theatres Agreement’ rate. amount of self-covering of instrument playing is implicit within the engagement of
Actor-Musicians. No Understudy Responsibility or Understudy Performance
8.2 Salaries during performance period (See clause 8.5 for minimum rates applicable for payments are due for incidental or minor covering of Actor-Musicians by Actor-
Actor-Musician Walking Understudies) Musicians.
8.2.1 Where an Actor-Musician is engaged to appear in a theatre included within the
prevailing SOLT/MU Agreement’s exceptions for certain theatres (currently known as 8.5 Actor-Musician Walking understudies
the ‘Small Theatres Agreement’) such provisions and the relevant SOLT/MU salary 8.5.1 Notwithstanding clause 8.2 above, the Minimum Performance Salary for an Artist
shall be applied to the Minimum Performance Salary for an Actor-Musician engaged engaged as an Actor-Musician Walking Understudy shall be the Base Salary plus
under 8.2.2 or 8.2.3 below. 5%.

8.2.2 Actor-Musician playing 1 or up to 2 instruments 8.5.2 The Actor-Musician Walking Understudy shall not receive an Understudy
8.2.2.1 The Minimum Performance Salary for an Actor-Musician shall be equal to Performance Payment for the first 2 Performances given in any Week (in line with
the ‘Minimum Weekly Salary’ under the prevailing SOLT/Musicians Union clause 7.1.2.2). For additional Leading Role or Supporting Role Understudy
8 Agreement. Performances over this number the Cover’s Understudy Performance Payment shall 8
be Not Less Than the difference between the Cover’s Basic Salary pro-rated for the
8.2.2.2 Provisions under the prevailing SOLT/MU Agreement which apply to the Artist’s Performance Schedule and the relevant Minimum Performance Salary for an
minimum weekly salary for playing two instruments (’doubling’) shall apply Actor-Musician pro-rated for the number of Performances being given in the week
to the Minimum Performance Salary for an Actor-Musician. that the cover performance takes place.

8.2.3 Actor-Musician playing 3 or more instruments 8.6 Instrument use

The Minimum Performance Salary shall be equal to the ‘Minimum Weekly Trebling 8.6.1 Either the Manager will provide the Actor-Musician with instrument(s) to use in the
Salary’ under the prevailing SOLT/Musicians Union Agreement. There is no limit on Production (such instrument(s) to be in good working order) or with the Manager’s
the number of instruments an Actor-Musician engaged on this Minimum may play. approval the Actor-Musician may use their own.

8.3 covering – where an Artist is engaged as an Actor and as cover for an Actor-Musician 8.6.2 If with the Manager’s approval the Actor-Musician will be using their own instrument(s)
8.3.1 For each Leading Role Covered not falling under clause 8.5 the Cover shall receive the following shall apply:
an Understudy Responsibility Payment of Not Less Than £42.76 (calculated as 6%
of the prevailing Category A Base Salary). 8.6.2.1 The Actor-Musician’s instrument(s) must be in good working order at the
beginning of the engagement. The Manager may require the Actor-
8.3.2 For each Supporting Role Covered not falling under clause 8.5 the Cover shall receive Musician to complete a check-sheet at the start of the engagement to
an Understudy Responsibility Payment of Not Less Than £28.51 (calculated as 4% ascertain the condition of the instrument(s).
of the prevailing Category A Base Salary).
8.6.2.2 The Manager will replace or, with prior approval of the expenditure,
8.3.3 For each Performance the Cover gives as an Actor-Musician in a Leading Role or reimburse the Actor-Musician for any consumables necessary for the run
Supporting Role the Understudy Performance Payment shall be Not Less Than the of the Production (eg reeds or strings).
difference between the Cover’s Basic Salary pro-rated for the Artist’s Performance
Schedule and the relevant Minimum Performance Salary for an Actor-Musician pro- 8.6.2.3 The Manager will be responsible for paying the costs of any repair needed
rated for the number of Performances being given in the week that the cover to be made to the Actor-Musician’s instrument(s) where damage or
performance takes place. breakage was incurred during the course of the instrument being used
in the Production.

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 SCHED ULE 8 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO ACTOR -MU SICIANSS S CH EDUL E 9 – MIN IMUM T ER MS AND CON DIT IONS APPLYING TO S PECIAL CATEGOR I ES OF ART I ST

8.6.2.4 If the Production undertakes a tour under clause 2.2.2 of this Agreement, 9 ScHEDuLE 9 – MINIMuM TERMS AND cONDITIONS AppLyING
the Manager will be responsible for insuring Actor-Musician’s instrument(s) TO SpEcIAL cATEGORIES OF ARTIST
when being transported under the Manager's control. 9.1 Booth Singers
9.1.1 Rehearsal Overtime
8.6.2.5 The Manager will be responsible for insuring the Actor-Musician’s Time in excess of 3 hours shall be paid pro-rata in minimum 30 minute units at single
instrument(s) at the rehearsal room, performing theatre, any place of work time.
determined by Manager, and when being stored under the responsibility
of the Manager. 9.1.2 performance Overtime
Performance time in excess of 3 hours shall be paid pro-rata in minimum 15 minute
8.7 Transportation of instruments units at time-and-a-half.
At the beginning and end of the engagement, the Manager will make a payment to the Artist
in line with the porterage provisions of the prevailing SOLT/MU Agreement. 9.1.3 Sunday Rehearsal / performances or public Holidays
Rehearsal time after midnight, rehearsals on Sundays and Performances on Public
8.8 ‘Best practice’ conditions Holidays shall be paid at double time.
8.8.1 The Manager will endeavour to ensure the Actor-Musician receives adequate music
call(s) to learn / rehearse the music. 9.1.4 Sunday performances
For a Performance on a Sunday a Booth Singer will receive an additional payment of
8.8.2 The Manager will endeavour to undertake reasonable measures to ensure the £72.93.
physical wellbeing of the Actor-Musician, including any Actor-Musician who is
performing with heavy and/or awkward instruments. Where necessary and pre- 9.2 Supernumeraries
approved by the Manager this may include the use of physiotherapy. 9.2.1 Rehearsal
Supernumeraries shall receive minimal but sufficient rehearsal to ensure safe working.

9.2.2 Sunday performances

8 For a Performance on a Sunday a Supernumerary will receive an additional payment
of £26.70.

9.3 Dance captain

9.3.1 The Dance Captain shall receive a negotiable sum which, in the case of musicals, 9
shall not be less than £98.00 per Week, in addition to Salary.

9.3.2 The Dance Captain shall be responsible for the standard of dance of the Ensemble
as required by the Manager and may be required to oversee rehearsals or
replacement routines, warm-ups or classes as called by the Manager. The Dance
Captain is not: the choreographer, or the movement director. A Dance Captain should
not be required to create movement or dance.

9.3.3 If the Dance Captain is required to attend Calls in addition to those which they would
attend for their Performer responsibilities, then such additional Calls shall be paid as
Overtime unless the Dance Captain receives more than the minimum additional
payment set out in clause 9.3.1 in which case no Overtime payment shall apply.

9.4 Actors with Stage Management Duties

9.4.1 Artists engaged as Performers with Stage Management duties shall be paid Not Less
Than £20.70 per Week above the Applicable Minimum Salary. Such Actors shall not
be regarded as Stage Management for the purpose of betterment.

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 SCHED ULE 9 – MINI MUM TERMS AND CO NDIT IONS AP PLYING TO SPECI AL CAT EGOR IES OF ARTI ST S CH EDULE 10 – TH E TH EAT R E COUNC IL – R EGI STR AT ION AND A R BI TR AT ION

9.5 performers under the age of 16 10 ScHEDuLE 10 – THE THEATRE cOuNcIL – REGISTRATION AND ARBITRATION
9.5.1 The Minimum Salary for a Performer under the age of sixteen covers the same 10.1 Registration
number of Performances as an adult. All other sums of money in this Agreement 10.1.1 It is a condition of the Artist’s engagement that the Manager be registered as an
including, but not limited to ceilings and minimums, shall apply at the rate of 50%. “Approved Manager” and that the Artist be registered as an “Approved Artist”,
respectively, of the The Theatre Council in accordance with the following extract from
9.5.2 In the case of termination of contract due to illness / injury / growth of the child / its constitution:
voice breaking, there will be two Weeks’ notice in writing with pay.
“8 Registration of Managers and Artists and making of engagements
a The Council shall institute and maintain a system for registering Managers
and Artists as approved (‘Approved Managers’ and ‘Approved Artists’) for
the purposes of presenting theatrical productions in the West End. All
Full Members of SOLT (unless otherwise agreed by SOLT) shall be
deemed to be Approved Managers and shall (subject to (b) below) remain
registered so long as they remain Full Members of SOLT. All Members of
Equity (unless otherwise agreed by Equity) shall be deemed to be
Approved Artists and shall (subject to b) below) remain registered so long
as they are Members of Equity. Such other Managers as may be
approved by the Council by placing deposits or having a Banker’s
Guarantee shall also be registered.
b The Council shall have power to refuse, suspend or cancel the registration
of any Manager or Artist and to issue directions as to the engagement
of Artists.
c In order to facilitate the making of engagements, the following shall apply:
i Managers shall have the right to select their own Artists and to be
the sole judges of an Artist’s suitability for their particular
requirements at the time of engagement.
ii Neither Equity nor any of its members shall take any action to
impede or endanger the production or run of a production provided
9 that all Artists are registered as Approved Artists at the time of
making the engagement and that all Artists are engaged in
accordance with the Approved Agreements.
d If during the run of a production or rehearsals its Manager should cease 10
to be ‘approved’ pursuant to sub – clause a) above by virtue of ceasing
to be a Full Member of SOLT the Council shall consider (initially through
its Joint Secretaries or their nominees and at a meeting if the Joint
Secretaries so decide) whether or not the production shall cease to be
presented by such Manager or presented only subject to such Manager
placing with the Council such financial deposit as the Council shall
decide.”
10.2 Arbitration
10.2.1 Where a clause of this Agreement prescribes that a specific matter is to be referred
to The Theatre Council, that matter shall be heard in accordance with the procedure
for arbitration hearings set out in The Theatre Council’s constitution and such
hearings shall be in accordance with the Arbitration Act 1996.

10.2.2 Without prejudice to clause 10.2.1 and provided that both SOLT and Equity agree, any
dispute whatsoever relating to the Artist’s contract which shall arise between a
Manager and an Artist shall be referred to The Theatre Council in accordance with the
procedure for arbitration hearings set out in The Theatre Council’s constitution and
such hearings shall be in accordance with the Arbitration Act 1996.

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 SCHED ULE 11 – NUDI TY AN D SI MU LAT ED S E X ACTS S CH EDU LE 12 – FAM ILY SH OWS

11 ScHEDuLE 11 – NuDITy AND SIMuLATED SEx AcTS 12 ScHEDuLE 12 – FAMILy  SHOWS

11.1 The following Regulations were agreed between Equity and the Theatres’ National
12.1 General provisions
committee,6 representing the Living Theatre throughout Great Britain, on the 1st
12.1.1 This Schedule sets out amendments to the Agreement which apply for a Family Show
January 1971. (Superseding the Regulations agreed between the parties and dated
which is running ‘on top’ of another production and for a run of up to 12 weeks and
24th September 1969).
where the Manager engages the Artist on the 12-Performance rates (such rates are
11.1.1 In respect of any production in which there is nudity and/or sex acts, all Artists shall payable in the Rehearsal Period and the Performance Period).
be informed in writing of this fact and of the general nature and extent of such nudity
and/or acts, prior to the conclusion of the contracts of engagement. 12.1.2 Family Shows which are performing at a theatre independently of another production
Where nudity and/or acts of a sexual nature are required of a Performer in the course and/or are longer-running and/or the Manager engages the Artist on the 8-
of a production, the Performer must be so advised in writing, clearly indicating the Performance rates should operate within the broader provisions of the Agreement
extent of the requirement, including the degree of nudity and/or the nature and extent or will be subject to any specifically negotiated exceptions.
of any such acts required, in advance of them entering into a Contract and the script
must be submitted to the Performer if they so request prior to the Performer being 12.2 performance Schedule
contracted. No artist shall be required to do any nudity and / or simulated sex act that 12.2.1 A maximum of 14 performances per week where the running time does not exceed
poses a risk to their welfare. 60 minutes (excluding interval).
12.2.2 A maximum of 12 performances per week where the running time does not exceed
11.1.2 No Performer may be required to disrobe in whole or in part until after they have or 90 minutes (excluding interval).
she has been auditioned as an actor, singer or dancer, etc. 12.2.3 A maximum of three performances per day.
Nudity or semi-nudity at auditions may be permitted only if: 12.2.4 Performance schedule Monday to Sunday at any time of day, with no additional
11.1.2.1 An official Equity observer or an observer agreeable to Equity is present. payments due for the Sunday.
12.2.5 There will be one Nominated Rest Day in each Week of work.
11.1.2.2 The direct professional and artistic interest of all persons present has
been agreed between Equity and the Management. 12.3 Additional performances
11.1.3 No sex acts shall be required of any Performer at any audition. If an additional performance is scheduled into a Week, the Manager will pay the performers
11.1.3.1 Photographs depicting Artists in the nude, partly nude and/or sex acts, and stage management pro-rata 1/12th (one-twelfth) of their weekly Salary for that
shall not be used for purposes other than direct publicity for the performance.
production, other than by the express written consent of the Artist.
12.4 Breaks between performances
11.1.3.2 The Manager undertakes that the prints and negatives of such photographs During the Performance Period there must be a break of at least 30 minutes between curtain
will be destroyed at the conclusion of the production. down on one performance and curtain up on the next performance.
11.1.4 In the case of an Artist arrested or charged with any offence arising from their
Performance as directed, the Management will do all that is legally possible to assist 12.5 Applicable Minimum Rates
the Artist. The Category which applies is determined by the number of seats on sale for the Family Show.

For the purposes of the Regulations: 12.6 Stage Management

11 11.1.4.1 “Acts of a sexual nature” and “sex acts” shall mean “any act which if The Manager may engage as many stage management as are commensurate with the scale
performed in public would be regarded as an indecent act”. of the production with no stipulated minimum. Equity has the right to ask the Manager for
11.1.4.2 “Nudity”, “semi-nudity” and “disrobe” shall mean “to be in a state of undress additional stage management if considered necessary.
which if in public could be regarded as indecent”. 12
12.7 understudies
Any dispute arising in relation to these Regulations shall be referred to the appropriate There is no minimum understudy requirement for Family Shows.
Theatre Council, which shall meet within 72 hours of such reference, and whose
decision shall be binding on the parties.

Failing such decision, the dispute shall be referred for binding decision to the Independent
Chairman or Vice-Chairman of The Theatre Council or, should this be impracticable, to
an independent person appointed by The Theatre Council for the purpose.
11.1.5 Where intimate scenes are being rehearsed an additional person’s presence will be
offered to and made available to the performers should they require it. This person
must be acceptable to the Artists.

6 The Theatres’ National Committee comprised SOLT, UK Theatre and ITC.

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 AP PEN D IX 1: DI SCIPLI NARY AND GRIE VANCE PROCE DU RES A PPE NDI X 1 : D IS CIPL INA RY A ND GR IE VA NCE PROC EDU RE S

A A
1 1
APPENDIX 1: DISCIPLINARY AND GRIEVANCE PROCEDURES A1.1.6.3 The Manager will endeavour to ensure that the meeting is in a private
location and that there are no interruptions.
A1.1 General
A1.1.1 purpose and Scope A1.1.6.4 The length of time between the written notification and the meeting should
A1.1.1.1 The Disciplinary Procedure is designed to help and encourage all Artists be long enough to allow the Artist to prepare for the meeting. The Artist
to achieve and maintain standards of conduct, attendance and job must take all reasonable steps to attend the meeting and if they or their
performance and set out the Manager’s framework for dealing with companion cannot attend on the date suggested they must notify their
disciplinary matters. The same procedure applies to all Artists and the aim head of department and propose an alternative date for the meeting to
is to ensure consistent and fair treatment for all. be held within 5 working days of the original proposed date.

A1.1.1.2 The Grievance Procedure enables all Artists to bring to the Manager’s A1.1.6.5 No meeting will take place unless the complainant has informed the other
attention any grievance relating to their employment and to try to resolve party in writing of the cause of the complaint and the other party has had
such matters satisfactorily. Grievance proceedings will, so far as is the opportunity to consider a response to the complaint.
reasonably practicable, be kept confidential.
A1.1.7 Records
A1.1.2 principles A1.1.7.1 During the disciplinary or grievance process the Manager will keep written
A1.1.2.1 No disciplinary action will be taken until the matter at issue has been fully records which may include: the nature of the complaint or the grievance
investigated. raised; a copy of the written complaint or grievance; the Artist’s defence;
the Manager’s response; findings made; any action taken or sanction
A1.1.2.2 The Artist will not normally be dismissed for a first breach of discipline imposed and the reasons for it; any grievances raised during a disciplinary
except in the case of gross misconduct or very serious breach of process; whether there was an appeal and if so the outcome; any
discipline when the sanction will be dismissal without notice or payment subsequent developments.
in lieu of notice.
A1.1.7.2 Such records will be kept on a confidential basis so far as is reasonably
A1.1.2.3 The Artist will have the right to appeal against any disciplinary sanction practicable and in accordance with the Data Protection Act 1998.
imposed or the decision of any grievance meeting.
A1.2 Disciplinary procedure
A1.1.3 General provisions A1.2.1 Investigation
So far as applicable to a particular circumstance, the following requirements apply Where a potential disciplinary matter arises the Manager will endeavour to make
to the Disciplinary and Grievance Procedures. necessary investigations to establish the facts promptly. Having carried out such
preliminary investigations the Manager will decide whether to take no further action
A1.1.4 Timetable or deal with the matter informally or arrange for the matter to be handled on a formal
Each step and action under the Disciplinary and Grievance Procedures must be taken basis. The Manager may choose to hold an investigatory meeting (as opposed to a
without unreasonable delay. disciplinary meeting) with the Artist solely to establish the facts of the case.

A1.1.5 Right to be Accompanied A1.2.2 Suspension

The Artist has the right to be accompanied at any disciplinary or grievance meeting In instances which the Manager considers to be particularly serious (e.g. in cases
by a fellow Artist or trade union representative who may make representations on their involving alleged gross misconduct, where relationships have broken down or there
behalf provided the Artist expressly authorises this at the beginning of the relevant is a risk to the Manager’s responsibilities to third parties or the Manager’s property),
meeting. However the Artist’s companion will not be able to answer questions put to the Artist may be suspended from work temporarily on full pay whilst an unhindered
the Artist during the course of the meeting. This right applies to all stages of the investigation is carried out. Any precautionary suspension of this kind will be reviewed
disciplinary and grievance process including appeals. This right does not apply to as soon as possible and will not normally exceed 10 working days. Any suspension
investigatory meetings as these are held solely to establish the facts of the case and on this basis should not be considered as a disciplinary sanction or an indication of
are not disciplinary meetings. prejudgement of the matter.

A1.1.6 Meetings A1.2.3 Formal procedure

A1.1.6.1 Timing and location of meetings must be reasonable. If the Manager decides to take formal action, the following procedure will be followed:
A1.2.3.1 Statement of grounds for action and invitation to meeting:
A1.1.6.2 Meetings must be conducted in a manner that enables both the Manager The Manager will prepare a written statement setting out the Artist’s
and the Artist to explain their case. alleged conduct or capability or poor performance, or other circumstances,
which may result in a disciplinary sanction (including dismissal) being

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imposed. The statement will be sent to the Artist who will be invited to A1.3.3 Formal Grievance procedure
attend a meeting to discuss the matter. The statement will contain A1.3.3.1 Statement of grievance
sufficient detail and any relevant accompanying evidence to enable the The Artist must set out, in a written statement, their grievance and send
Artist to prepare for the meeting. the statement to their head of department (or, where that person is the
subject of the grievance, that person’s line manager). The Artist will be
A1.2.3.2 Meeting: invited to attend a meeting in order to discuss the grievance.
The complaint will be fully explained to the Artist at the meeting and the
Manager will go through the evidence that has been gathered. The Artist A1.3.3.2 Meeting
can make representations and explain their view of the situation and The Artist will be permitted to explain their complaint and then say how
answer any allegations that have been made. The Artist will be allowed they believe it should be settled.
to ask questions and present evidence. If appropriate the Artist can call
witnesses and will be given an opportunity to raise points about any A1.3.3.3 Notification of decision.
information provided by witnesses. No disciplinary sanction will be After the meeting the Artist will be informed of the Manager’s decision.
imposed until the meeting has taken place. This will be communicated to the Artist in writing within 10 working days
of the meeting and the Artist will be notified of their right to appeal against
A1.2.3.3 Notification of decision the decision if they are not satisfied with it. If it is not possible for the
After the meeting the Artist will be informed of the Manager’s decision. Manager to respond with their decision within 10 working days the
This will be communicated to the Artist in writing within 10 working days Manager will give an explanation to the Artist for the delay and inform
of the meeting and the Artist will be notified of their right to appeal against them as to when a response can be expected.
the decision if they are is not satisfied with it. If the decision taken is
dismissal the Artist will also be provided with written reasons for dismissal, A1.3.3.4 Appeal
the date on which the employment will terminate and the appropriate The Artist has the right to appeal against the findings of a grievance
period of notice (if applicable). If it is not possible for the Manager to meeting.
respond with their decision within 10 working days the Manager will give
an explanation to the Artist for the delay and inform them as to when a
response can be expected. A1.4 potential Disciplinary Sanctions
Formal disciplinary action may result in the following disciplinary sanctions being imposed:
A1.2.3.4 Appeal A1.4.1 verbal Warning
The Artist has the right to appeal against any disciplinary sanction If conduct or performance does not meet acceptable standards the Artist may be
imposed on them. given a formal verbal warning. A note of the verbal warning will be kept on the Artist’s
personnel file but will usually be disregarded for disciplinary purposes after three
A1.3 Grievance procedure months subject to satisfactory conduct and performance.
A1.3.1 Informal Resolution of Grievances
The Manager recognises that misunderstandings or grievances may sometimes A1.4.2 Written Warning
occur. It is most important that these grievances are brought out into the open and If the misconduct or poor performance is more serious, a formal written warning may
resolved as fairly, consistently and speedily as possible. In most cases this can be be given to the Artist. This will give details of the complaint, the improvement or
done on an entirely informal basis. change in behaviour required and the timescale allowed for this, and state that a final
written warning may be considered if there is no sustained satisfactory improvement
Any grievance should, in the first instance, be raised with the Company Manager or, or change. A copy of this written warning will be kept on the Artist’s personnel file but
where the Company Manager is the subject of the grievance, the Manager’s General will usually be disregarded for disciplinary purposes after six months subject to
Manager who should discuss the matter with the Artist informally within two working satisfactory conduct and performance.
days of it being raised. An Artist with Company Manager responsibilities, should raise
the matter with the Manager’s General Manager in the first instance or if the General A1.4.3 Final Written Warning
Manager is the subject of the grievance, the Manager themselves. If the offence is serious or there is a failure to improve performance or conduct during
the currency of a prior warning, a final written warning may be given to the Artist.
A1.3.2 Formal Resolution of Grievances This will give details of the complaint, the improvement required and the timescale.
Where the grievance cannot be resolved informally and the Artist has a complaint, It will also warn that failure to improve may lead to dismissal. A copy of this written
concern or problem about action which the Manager has taken or is contemplating warning will be kept on the Artist’s personnel file but will be disregarded for
taking in relation to the Artist or the Artist has a personal grievance or a complaint disciplinary purposes after twelve months (although in exceptional cases the period
about any work-related matter which affects their efficiency at work, it should be may be longer) subject to satisfactory conduct and performance.
dealt with under the formal Grievance Procedure below.

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A1.4.4 Dismissal or Other Sanction A1.7.3 Where possible the person who made the original disciplinary or grievance decision
A1.4.4.1 In certain circumstances, for example a failure to improve conduct or will not be involved in the decision-making process of the appeal. The appeal will be
performance where a previous warning has been given or where there is heard by an appropriate member of senior management. If the appeal relates to a
an act of gross misconduct or a serious failure to perform, the disciplinary dismissal it will be heard by a Director of the Manager provided that that person did
sanction may be dismissal or the Manager may take some other action not make the original decision to dismiss and provided that the parties agree. In the
short of dismissal such as disciplinary suspension without pay for up to absence of agreement the appeal may be heard by The Theatre Council. Every effort
a maximum of five working days. will be made to ensure that the appeal is heard and resolved quickly.

A1.4.4.2 If some sanction short of dismissal is imposed, the Artist will receive A1.7.4 After the appeal meeting the Artist will be informed of the Manager’s final decision and
details of the complaint, and will be warned that dismissal could result if this will be communicated to the Artist within 10 working days of the meeting. If it is
there is no satisfactory improvement. A copy of this written warning will not possible for the Manager to respond with their decision within 10 working days
be kept on the Artist’s personnel file but will be disregarded for disciplinary the Manager will give an explanation to the Artist for the delay and inform them as to
purposes after twelve months (although in exceptional cases the period when a response can be expected.
may be longer) subject to satisfactory conduct and performance.
A1.7.5 Where the Artist appeals against any disciplinary sanction imposed on them, the
A1.5 Gross Misconduct original disciplinary decision (including a decision to dismiss) will be implemented
The following list provides examples of offences which are normally regarded as gross misconduct. pending the appeal meeting and its outcome.
This list is not exhaustive and other serious misconduct may also lead to summary dismissal:
theft, fraud, deliberate falsification of records, dishonesty, fighting, assault, violence,
unauthorised possession of property belonging to the Manager, damage to the Manager’s
property, incapacity for work due to being under the influence of alcohol or illegal drugs, serious
negligence which causes unacceptable loss, damage or injury, serious act of insubordination,
misuse of confidential information, unauthorised entry to computer records, conviction for a
criminal offence arising from or relating to the Artist’s work for the Manager, conduct whether
inside or outside working hours which may bring the Manager’s reputation into disrepute,
serious or persistent neglect of duties or any material breach or non-observance of those
duties – in particular refusal to obey reasonable instructions, unauthorised absence from work
(including conduct inconsistent with an alleged sickness, injury or other incapacity).

If the Artist is accused of an act of gross misconduct, the Artist may be suspended from work
on full pay while the Manager investigates the alleged offence. If, on completion of the
investigation and the Disciplinary Procedure, the Manager is satisfied that gross misconduct
has occurred, the result will normally be summary dismissal without notice or payment in lieu
of notice.

A1.6 General
Following a disciplinary meeting, before making the decision on what disciplinary sanction it should
impose, the Manager will take into account the Artist’s disciplinary and general employment
records, length of service and the explanation given by the Artist at the disciplinary meeting.

Before implementing any of the formal sanctions set out above, including after a review of the
Artist’s conduct or performance, the Disciplinary Procedure set out below will normally be
followed.

A1.7 Appeals
A1.7.1 The Artist has a right to appeal against the finding of a disciplinary or grievance
meeting.

A1.7.2 If the Artist wishes to appeal, they must inform the Manager in writing within 5 working
days of receiving the decision. The Artist will then be invited to attend another
meeting.

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APPENDIX 2: CODE OF CONDUCT FOR AUDITIONS A2.3.1.3 All necessary material. All the material will remain the property of the
management to whom it will be returned if requested.
A (Note: Including ‘workshops’ where a workshop is used as part of the audition process).
A
2 A2.3.2 Artists should arrive in adequate time and be fully prepared by their audition time. If 2
All involved with the casting process have a responsibility to make reasonable endeavours any Artist is unable to attend an audition at the specified time, they will inform the
to ensure performers are given the opportunity to prepare and give of their best. Manager as soon as possible. If any Artist arrives late for an audition, the Manager
shall not be obliged to audition that Artist or use their best endeavours to do so.
A2.1 Facilities
A2.1 The Manager shall provide, where reasonable and practicable, in addition to the room A2.3.3 On arrival at the place of audition, the Artist shall be informed of the names and roles
in which the auditions are being held, appropriate accommodation to enable the of the persons conducting the audition and of any special requirements which have
Artists to change, wait and prepare. not already been notified in advance.

A2.2 Audition accommodation shall be of a suitable size, properly lit, cleaned, heated and A2.3.4 Nothing shall prevent the Manager from inviting the Artist to audition for a part for
ventilated. which they were not originally being considered, provided the Manager shall afford
the Artist reasonable time and facilities to prepare for such additional audition.
A2.3 When Artists are required to dance, the Manager will provide suitable surfaces and
washing facilities and will use their best endeavours to provide shower facilities. A2.3.5 The Manager shall inform Artists (or their agents) either prior to or at the time of the
audition of the arrangements for Artists (or their agents) being notified of the results
A2.4 The Manager shall arrange auditions to provide as much privacy as possible and of their audition. Performers or their agents should be informed when they have not
shall, in any case, ensure that the Tannoy or other sound equipment is switched off. got a role at the earliest opportunity and at least by the time the full cast are
announced in the Press.
A2.5 The Manager shall provide, where reasonable and practicable, access for disabled
people. A2.3.6 If the Artist is recalled on the same day, a time for the recall shall be mutually agreed.

A2.2 personnel A2.3.7 All those who are essential to casting decisions should work with performers to
A2.2.1 A person responsible for casting shall be present at all auditions. minimise the number of recalls.

A2.2.2 There shall be sufficient personnel (and, in the case of open auditions for musicals, A2.3.8 If the Artist is called to attend more than two auditions, they shall be paid travel and
there shall be a minimum of two) who shall be briefed as to the requirements of those out-of-pocket expenses for attending any auditions after the second provided that
conducting the audition. such expenses only apply to Artists who live outside Zone 4. For auditions in excess
of six, all travel expenses will be paid for the sixth audition onwards. The Manager will
A2.2.3 An Equity representative shall be entitled to be present at all open auditions to give make expense forms available at the auditions and the Artist shall submit a claim for
any necessary information. travel within one week of the audition and which shall be reimbursed with two weeks.
The Manager shall ensure that the Artist is required to attend as few recalls as
A2.2.4 Unless the Manager is employing an agent as a casting consultant, agents will only possible.
be allowed to attend auditions at the request of an Artist and then only for the audition
of the Artist making the request and with the prior consent of the Manager. A2.3.9 Any auditions involving nudity or semi-nudity will be conducted in line with Schedule
11.
A2.2.5 No members of the press or persons other than those listed above shall be entitled
to be present in the audition area without the Artist’s prior knowledge and consent A2.3.10 An Artist already under contract to another Manager shall bring to the audition written
upon reasonable notice. Whenever the Manager intends to hold auditions with the evidence of their availability to accept the engagement if offered.
press present they shall offer the Artist an alternative time when the press will not be
present. A2.3.11 With specific exceptions as allowed by law, performers should not be asked for
personal information, verbally or in writing, as part of the audition.
A2.3 General procedures for Auditions
A2.3.1 Where possible all Artists shall receive at least 48 hours’ in advance: A2.3.12 Information provided on the head sheet or the artist declaration form or equivalent
A2.3.1.1 Notification of the nature of the auditions and, details of the part(s) being must be treated in accordance with data protection law.
cast; and who will be present;

A2.3.1.2 Notification if the audition is to be taped or recorded in any way.

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A2.4 Special provisions for Open Auditions APPENDIX 3:

A2.4.1 Artists shall be required to complete an audition card, which shall have provision for FOR THE USE OF RAKED STAGES IN THEATRICAL
A the Equity name and number (where applicable), legal name (if different from the
2 PRODUCTIONS
above), their agent and details of their credits.
THEATRE SAFETy cOMMITTEE
A2.4.2 Artists will normally be auditioned in order of their arrival at the place of audition, A
where they will be given a numbered card (in addition to the card referred to in A2.4.1
above), which shall determine their place in the order of those being auditioned.
A3.1 Introduction 3
A3.1.1 A raked stage may be simple or contain multiple rakes and the surfaces come in
many different forms.
A2.5 Special provisions for Straight plays
A2.5.1 A description of the part(s) being auditioned shall be given in advance to the Artist or
A3.1.2 A combination of different factors can lead to problems.
their agent, where the play has been written, with full details of the scenes to be read.
A3.1.3 Costumes, footwear, the surface and the steepness of the rake, the choreography
A2.5.2 The Artist shall be informed in advance whether they are is required to give a set
or fight sequences, and the time spent on the rake can all be contributory factors that
speech of their own choosing and/or to read a scene.
can lead to discomfort or injury. It is important to appreciate that not only moving but
also standing still on a rake can cause problems.
A2.5.3 If the Artist is required to read with another person, that person shall be competent.
A3.1.4 Everyone involved – Manager, Designer, Choreographer, Director and Performer –
A2.6 Special provisions for Musicals / Operatic productions
has a duty of care to minimise and contain the risk involved.
A2.6.1 A capable pianist and a piano in tune shall be provided although an Artist may use
their own pianist if they wish and, in any event, the Artist must supply suitable music.
A3.1.5 Whenever a rake is to be used a formal assessment of the risks associated with its
use must be undertaken. The risk assessment should be carried out at every stage
A2.6.2 If the Artist is required to learn a specific number, the Manager shall provide the music
of production – from design, design of costumes, rehearsals, including technical
and where possible an MP3 guide track, which shall be made available not later than
rehearsals and dress rehearsals, and postproduction. When assessing the amount
forty-eight hours before the audition, and the Artist shall perform the audition piece
of time a performer is required to work on a rake, the entire working week must be
as provided.
taken into account, rehearsal time as well as performance time. It should be
remembered that an individual may be working for more than one employer during
A2.7 Advertisements
the week and might therefore be working on more than one rake. Also relevant could
A2.7.1 The Manager shall ensure that all advertisements relating to auditions shall be as
be the anticipated duration of the performers’ requirement to perform on the rake –
specific as possible.
what might be acceptable for a limited short run might be viewed differently for an
extended run in the West End.
A2.7.2 Advertisements should contain the following information where appropriate:
A2.7.2.1 Whether any specific requirements exist regarding gender, ethnic
A3.1.6 Thought should be given as to whether a particular rehearsal needs to take place on
characteristics, age range, height, dance or voice or music type, or
the rake and a balance struck between minimising the time spent on the rake whilst
previous professional experience;
providing sufficient familiarisation with the problems of working on the particular rake.
A2.7.2.2 Any requirement regarding clothing and footwear;
A3.1.7 It is accepted that rakes form a major part of set design and it is not the intention of
this Code to prevent rakes being used when they are essential to the design concept
A2.7.2.3 The timing of an open audition;
of a production. These guidelines are to help minimise the potential for the rakes
themselves to cause harm.
A2.7.2.4 The date of rehearsals and production if known.
A3.2 Designating a Rake
A2.7.3 Casting breakdown should encourage applications from the most diverse range of
Simplistically, a rake is any stage performance surface that is not level. It covers both the very
Artists possible.
slight and the very steep. It is generally accepted that a rake of 1:21 or flatter is equivalent to
a flat surface and that a rake of 1:12 or steeper should be regarded as a very steep rake other
A2.8 Self-taping
than for performers trained for this work. The steeper the rake the less suitable it is for
In the case of self-taping, Artists should be given clear direction on what is required and a
extensively choreographed movement, high heeled shoes, carrying or pushing large and/or
realistic time frame. There should also be a timely acknowledgement of receipt.
heavy objects or extended periods of work on the rake.

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A3.3 Elements for Assessment A3.3.8 pre-existing risk factors

All of the following factors should be assessed whenever performers are being asked to work Performers with pre-existing risk factors that might be exacerbated by working on a
on a rake. rake, for example injuries, pregnancy or a predisposition to back or knee problems,
A3.3.1 Movement should ensure that the Manager is made aware of any such risk factor as soon as
Movement covers not only dance. It could be normal movement, stylised movement they are aware that they are required to work on a rake so that it can be taken into
A or choreography. All of these have different implications when considering the account. A
suitability of working on a rake. The steeper the rake being considered the more
3 restricted the range of suitable movements might be. Remaining in a stationary A3.3.9 Warming up and cooling down
3
position for an extended period of time should also be assessed as the use of muscles The importance of the body being in a fit state to deal with strains put upon it is
when standing on a rake differs from standing or moving on a flat surface. generally recognised. Where work is to take place on a rake exercises for both warm-
up and cooling-down should be undertaken on a regular basis. It is recommended
A3.3.2 Surface that a qualified individual be engaged to teach the performers appropriate warm up
Whilst it may seem obvious, the steeper the rake the more grip will be required from and cool down exercises. Depending on the steepness of the rake and other factors,
its surface and the more predictable the surface should be. Special care should be a qualified individual may also be needed periodically to ensure that the exercises are
taken with the choice of final finish and consideration given to the effects of its being performed correctly.
cleaning and maintenance. Particular attention must be given to any area where a
level surface meets a rake or where two rakes meet. These exercises should occur as a part of the preparation for working on the rake.
Time spent so doing should count as time worked for the purposes of weekly
A3.3.3 Footwear calculations, but should not impinge on any daily or weekly rehearsal time limits.
The sole of any footwear has to be compatible with the stage surface to enable These sessions should be a minimum of five minutes in length.
sufficient grip for the rake and the activity being carried out. On a steep rake
consideration should also be given to the amount of support provided by the A3.3.10 Specialist Advice
footwear. Particular care must be given to the use of any high heel on a rake. Where the use of a very steep rake is being considered, specialist advice should be
sought to ensure that proper provision is made for minimising risk. Such a specialist
A3.3.4 costume and props could, for example, be a physiotherapist conversant with dance/sporting injury or
Consideration must be given to what an actor is required to wear or carry on a rake some other person with identifiable experience in dealing with such matters.
in terms of weight, freedom of movement and balance.
A3.4 Summary
A3.3.5 Access So in general terms at 1:21 or flatter no specific steps need to be taken however if approaching
Over and above normal considerations of safety backstage, consideration must be that boundary it would be wise to consider the implications. At 1:12 or steeper specialist
given to how the rake can be safely accessed. This applies not only to stage advice should be sought. Between the two all of the factors described should be addressed.
entrances but also get off treads, where particular care must be given to the point at
which a sloping surface meets a flat one and especially where a scenic rake is Movement Surface Footwear costume Access Specialist
mounted on a raked stage.

3 3
1:21 or
A3.3.6 Touring flatter

3 3 3 3 3
If a production is touring care must be given to the implications of “putting a rake on
a rake” – as where a touring floor meets a house rake. 1:20 – 1:13

A3.3.7 Breaks
If a rake of 1:20 or steeper is being used the Manager should consider the performer’s
1:12 or
steeper
3 3 3 3 3 3
need for periods of time off the rake in addition to the normal breaks. Where a steep
rake is being used a significant rest time off the rake may be necessary. These periods
need not be additional “Break Time” but could be for instance time working on A3.5 Applicability
another aspect of the production off the rake. The amount should reflect the demands Whilst these guidelines primarily apply to performers, similar considerations apply to others –
being made on the performers, both as to the steepness of the rake and what they stage management – technicians – who may have to work on a rake.
are required to do on it, but for example 5 minutes off the rake within every hour might
be sufficient.

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APPENDIX 4: EXCERPT OF THE SAMPLE STANDARD CONTRACT 6.2 The Rehearsal Period shall commence on 05-Jul-2019 (or not more than seven days later,
any such postponement to be notified to the Artist at the earliest opportunity).
This contract Reference xxx1234
6.3 The Artist’s first Performance in the Production shall be on 05-Aug-2019 (or not more than
THIS cONTRAcT is made BETWEEN fourteen days later).
xxx Limited (“the Manager”) OF xxx; 6.4 The engagement shall be for the duration of the Production, subject to earlier termination by
AND xxx (“the Artist”) either party giving the other not less than four Weeks’ notice in writing, such notice to expire
OF xxx (“the Artist's Home Address”) on the date that it is signed by the second party to at the end of the fifty-second Week from the Artist’s first Performance. In the event of the
sign it. termination of the run of the Production, the Manager shall give the Artist two Weeks’ notice
A IT IS AGREED as follows of the termination of the run of the Production, such notice to expire at the end of a Week, or A
4 pay the Artist two Weeks’ Salary in lieu of notice. 4
1. INTERpRETATION
1.1 In this Standard Contract, the "Agreement" means the Agreement for West End Theatre Artists 6.5 Further terms and conditions relating to the circumstances in which the engagement may be
(including Performers, Stage Management, Booth Singers and Supernumeraries) between terminated and the length of notice required are set out in the Agreement.
Society of London Theatre and Equity dated 8 April 2019, its Schedules (as defined in clause 6.6 Further terms and conditions relating to payment during periods of Force Majeure, short run
A2) and any renewals or revisions to it as agreed between Society of London Theatre and guarantees and failure to produce arrangements are set out in Clauses 2.2.7, 2.2.9 and 2.2.10
Equity from time to time. respectively.
1.2 Throughout this Standard Contract a reference to a "clause" is a reference to a clause of the 6.7 Where the statutory minimum period of notice of termination to which the Artist is entitled to
Agreement. receive is greater than that specified in this Contract or the Agreement, the Manager shall give
1.3 Any capitalised terms that are not defined in this Standard Contract shall have the meaning the Artist the statutory minimum period of notice.
given to them in the Agreement. 6.8 The Manager reserves the right to pay the Artist in lieu of notice.
2. INcORpORATION OF THE AGREEMENT 7. ARTIST’S DuTIES
2.1 This Standard Contract together with any addenda or riders thereto as signed by the Artist and PERFORMING DUTIES
the Manager (the “Contract”) shall incorporate the Agreement. 7.1.1 The Artist shall perform the role of A person.
2.2 The Agreement can be viewed at the place of work and obtained from the offices of Equity.
8. OTHER cONSENTS
3. pRODucTION The Artist shall not alter their appearance excluding reasons beyond their control without the
The Manager engages the Artist for the Production entitled XXX. Manager’s prior consent.

4. THEATRE cApAcITy AND ScHEDuLE 8.1 AIR TRAVEL

4.1 The Artist agrees to perform at XXX in London and such theatres as the Manager shall require The Artist has agreed to travel by air if required to do so by the Manager.
in the West End of London and subject to the limitations set out in Clause 2.2.2 at other
theatres in the United Kingdom. The Artist shall not be required to perform outside the UK. 9. SALARy
9.1 Not less than the Applicable Minimum Salary under Clause 2.3 shall apply to this Contract.
4.2 The theatre at which the Manager intends to present the Production will have a seating
capacity for that Production which classes it as Category A and the Performance Schedule 9.2 The Artist's Salary covers work on a maximum of any six days in any one Week between
basis for this engagement is 8 Performances a Week. 08:00 and 23:30.

4.3 The Artist’s salary shall cover these 8 Performances with not more than two Performances 9.3 The Manager shall pay the Artist a basic
given on any one day. 9.3.1 Rehearsal Salary at the minimum rate under the Agreement, which is £712.73 per
week as at the date of this Contract.
5. NATuRE OF THE ENGAGEMENT AND MINIMuM AppLIcABLE SALARy 9.3.2. Performance Salary at the minimum rate under the Agreement, which is £712.73 per
5.1 The Artist is engaged as an Actor. The Applicable Minimum Salary is as set out in the week as at the date of this Contract.
Agreement, which is £712.73 per week as at the date of this Contract.
9.4 EMERGENCY COVER
6. pERIOD OF ENGAGEMENT AND cONTINuOuS EMpLOyMENT 9.4.1. If, in an Emergency, a Performer is requested to undertake a Role, or part of a Role,
6.1 The engagement shall begin on the first day of the Rehearsal Period or, if there is no Rehearsal which is outside the Performer's normal duties, the Performer shall receive an
Period, the day of the Artist’s first Performance. The Artist’s continuous engagement Understudy Performance Payment at the minimum rate under the Agreement, which
commences with effect from the beginning of the engagement. is £8.43 for each Performance as at the date of this Contract.

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APPENDIX 5: GUIDELINES FOR PUBLICITY AND PROMOTION APPENDIX 6: ARTIST’S SCHEDULE OF PR0FESSIONAL CONDUCT
ACTIVITY
All artists are expected to abide by the ‘Artists Responsibilities’ and ‘Artist’s Duties’ as explained in
Clauses 2.16 and 2.17 of the Agreement, including:
These guidelines reflect the shared understanding between SOLT and Equity of the importance of • Perform the role as directed.
publicity and promotional work for a Production. These activities have a direct impact upon the sale • Comply with the Manager’s rules at the theatre and the rehearsal room
of tickets and therefore potentially on the commercial success or longevity of a Production. As such, • Take proper care of costumes, wigs etc, and also of the working environment such as dressing
the Artist’s participation in promoting a Production is part of the duties of their engagement on the rooms and backstage.
Production. • Have proper regard for the safety and welfare of other people in the workplace.
• Maintain a professional attitude at all times.
There is an increasingly broad spectrum of ways in which Managers may seek to promote the • Let the Manager know as soon as possible if their address or other contact details change.
Production through publicity and promotional activity. The examples below may not encompass all
situations which may arise and so for clarity, it is understood that the Manager will only require the The following are specific points which Equity and SOLT have agreed that all Artists should follow:
A Artist to participate in any publicity / promotional activity for a Production which the Manager has
5 reasonable grounds to believe could positively affect ticket sales.
A6.1 Breach of contract
Managers will not require Artists to participate in the distribution of publicity materials for the Once an Artist has accepted an offer to be engaged on a Production (which includes verbal A
Production where doing so does not involve their performance. or written acceptance, whether personally done or via an agent), they accept that if they
subsequently break that commitment then they run the risk of being held responsible by the
6
Tv appearances for Tv broadcast (excluding documentary or ‘making of’ programmes); Manager for breach of contract and therefore could be liable for any costs incurred by the
press calls, photograph and publicity calls – including charity events, award ceremonies, Manager in, for example, recasting the Artist.
events promoting West End theatre such as West End Live
The Artist agrees to use their best endeavours to attend all such press, publicity and promotional A6.2 Home Address
calls (whether in or out of costume) arranged by the Manager for the promotion of the Production. When the Artist accepts the engagement the address which they give as their home address
will be the one which is then specified on the Artist’s contract. As it is this contractual address
All such publicity and promotional calls shall count as working hours if worked, including any which determines whether or not subsistence is paid, both parties need to be clear at the
rehearsals for such calls. Calls which continue outside scheduled working hours will incur the relevant outset what is the home address of the Artist.
overtime payments.
The home address must be where the Artist regularly resides when not engaged in acting or
For the avoidance of doubt, the Artist shall not look to the Manager for any compensation for an stage management employment which requires the Artist to relocate or tour. The Manager
appearance on television (notwithstanding any overtime or similar payments that may be applicable has the right to ask the Artist to provide evidence (eg. copies of bills or a bank statement) of
under the SOLT/Equity Agreement). their home address to prove this.

corporate work for which the Manager receives a payment A6.3 Social Media
In circumstances where the Manager receives a payment in respect of publicity / promotional activity All Artists are required to co-operate with the Manager’s position or policy towards Social
which is part of a ‘corporate event’ then the Artist will receive a payment for their participation in that. Media and/or Social Networking. This could mean a total ban on posting information about the
Such payment to be agreed in good faith and commensurate with the nature of the event and the production on social networking sites.
scale of the Artist’s participation.
Artists need to be aware of the potential impact of what they are posting on social media sites
It is understood by the Managers that there may be circumstances where an Artist has objections such as Twitter and Facebook. The emphasis needs to be on using these media responsibly
towards participating in particular charity or corporate events on moral or religious grounds. Where and reflecting the production in a positive light. Posts which are negative, bring the production
this is legitimately the case, the Manager will endeavour to be sympathetic to the Artist’s objections. or the Manager into disrepute, or breach any confidentiality and may result in disciplinary action
for the Artist. The Artist should be aware that this includes the confidentiality of what is
happening in the rehearsal room and also any information which is embargoed.

A6.4 Drugs & Alcohol

All Artists are required to co-operate with the Manager’s position or policy towards Artists
consuming illegal drugs or alcohol before or during working hours. This could mean a total ban
on the use of either and / or being under the influence of drugs or alcohol at any point during
working hours.

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Disciplinary procedures may be invoked if either or both of A6.4.1 – A6.4.2 apply:

A6.4.1 the Manager has reasonable grounds for suspecting that the Artist is not cooperating
with the Manager’s policy on drugs and alcohol;

A6.4.2 an Artist appears to be under the influence of alcohol or illegal drugs in the workplace.

A6.5 punctuality
All Artists need to arrive for rehearsals and performances in sufficient time that they are ready
and fully prepared to start work at the call time (which includes a compulsory company warm-
up if applicable). The Artist must be in the building and signed-in for the half-hour call, unless
the Manager has given the Artist prior approval otherwise.

A6.6 Incapacity
Artists must inform the Manager at the earliest possible moment if they are sick or injured and
unable to attend a rehearsal or performance call. Artists should understand that the Manager
A may withhold incapacity pay if the Artist does not provide the Manager with a self-certificate A
form for absence of 7 days or less, or a doctor’s certificate when absent for more than 7 days.
6 6
For absence(s) of less than 7 days the Manager has the right to require the Artist to complete
and sign a ‘Return to Work’ form stating full reasons for the absence. Any false information
given by the Artist may lead result in disciplinary action for the Artist and could be gross
misconduct.

A6.7 Who Shall perform When

It is for the Manager not the Artist to decide which Artist shall perform in which role at each
and every performance. For instance, Artists who are sharing responsibility for a role may not
decide who will perform when without the permission of the Manager.

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 AP PEN D IX 7: RATES OF PAY FOR 8 P ERFORMANCE S P ER WE EK APP END IX 7: R ATES OF PAY FOR 8 PER FOR MA NCES PER WEE K

APPENDIX 7: RATES OF PAY FOR 8 PERFORMANCES PER WEEK

From 8 April 2019 – 2 April 2023

payment 8 Apr 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 5 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.
MINIMA – 3 minima linked to theatre’s seating capacity
category A (1,100 + seats)
ASM / Performer weekly £712.73 £728.41 £742.98 £757.84 2.3.1.3 16
DSM (65pw uplift) weekly £777.73 £793.41 £807.98 £822.84 6.3.2 48
SM (£130pw uplift) weekly £842.73 £858.41 £872.98 £887.84 6.3.3 48
CSM – no less than Category A SM rate negotiable 6.3.4 49
category B (800 – 1099 seats)
ASM / Performer weekly £648.34 £662.60 £675.85 £689.37 2.3.1.3 16
DSM (£65pw uplift) weekly £713.34 £727.60 £740.85 £754.37 6.3.2 48
SM (£130pw uplift) weekly £778.34 £792.60 £805.85 £819.37 6.3.3 48

A CSM – no less than Category B SM rate negotiable 6.3.4 49 A

7 category c (up to 799 seats) 7
ASM / Performer weekly £583.38 £596.21 £608.13 £620.29 2.3.1.3 16
DSM (£65pw uplift) weekly £648.38 £661.21 £673.13 £685.29 6.3.2 48
SM (£130pw uplift) weekly £713.38 £726.21 £738.13 £750.29 6.3.3 48
CSM – no less than Category C SM rate negotiable 6.3.4 49

ADDITIONAL pAyMENTS
Head Boy / Girl / Dance Captain weekly £98.00 £105.00 £112.00 £120.00 9.3.1 59
understudy Responsibility
• Leading Role weekly £28.00 £30.00 £32.00 £35.00 7.1.1.5.1 52
• each ‘supporting role’ weekly £18.25 £19.50 £21.00 £22.00 7.1.1.5.3 52
• up to three featured parts within an ensemble role (as defined) weekly n/a n/a n/a n/a 7.1.3.3 53
understudy performance payments
• leading role, per performance per perf given £28.00 £30.00 £32.00 £35.00 7.1.1.5.2 52
• supporting role, per performance per perf given £18.25 £19.50 £21.00 £22.00 7.1.1.5.4 52
Minor or crowd roles per performance per perf given £8.43 £8.62 £8.79 £8.97 7.1.1.5.6 52
Emergency cover of Role or part of Role per perf given £8.43 £8.62 £8.79 £8.97 7.1.4.1 54
Emergency ensemble cover of Feature per perf given £4.10 £4.19 £4.28 £4.36 7.1.4.2 54

Increases in 2022-23 subject to:

• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.

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5
 AP PEN D IX 7: RATES OF PAY FOR 8 P ERFORMANCE S P ER WE EK APP END IX 7: R ATES OF PAY FOR 8 PER FOR MA NCES PER WEE K

payment 8 Apr 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 5 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.
Walking understudy responsibility & performance payments
• one Leading Role responsibility n/a - - - - 7.1.2.1 53
• two Supporting Roles responsibility n/a - - - - 7.1.2.1 53
• up to two performances a week n/a - - - - 7.1.2.1 53
• for each performance over two a week per perf given £28.00/ £30.00/ £32.00 £35.00/ 7.1.2.1 53
£18.25/ £19.50/ £21.00/ £22.00/
£8.43 £8.62 £8.79 £8.97
Swing – no manning levels weekly £69.00 £75.00 £82.00 £90.00 7.1.3.2 53
Performer with stage management duties weekly £20.70 £21.16 £21.58 £22.01 9.4.1 59
Appearance on stage for Stage Managers in costume paid when
appear £7.45 £7.61 £7.76 £7.92 6.6.3.2 51

ALLOWANcES
A West End Relocation Rate weekly £168.08 £171.78 £175.22 £178.72 2.9.2 21 A
7 Meal allowance paid if needed £28.13 £28.75 £29.33 £29.92 7

cEILINGS
Failure to produce n/a £1,600 £1,600 £1,600 £1,600 2.2.10.2 15
West End Relocation Rate – cut off salary n/a £2,400 £2,400 £2,400 £2,400 2.9.1 21
Understudy ceiling ceiling £1,200 £1,200 £1,200 £1,200 7.1.5.1 54

OvERTIME
Single-time overtime rate for Performers during Performance Period: 1/40th of Applicable Minimum Salary £17.82/ £18.21/ £18.87/ £18.95/ 5.4.3.1 47
£16.21/ £16.57/ £16.90/ £17.23/
£14.58 £14.91 £15.20 £15.51
Single-time overtime rate for Performers during Rehearsal Period: 1/45th of Applicable Minimum Salary £15.84/ £16.19/ £16.51/ £16.84/ 5.4.3.1 47
£14.41/ £14.72/ £15.02/ £15.32/
£12.97 £13.25 £13.50 £13.78
Single-time overtime ceiling for stage Management for rehearsal and performance: 1/42nd £25.45/ £26.01/ £26.54/ £27.07/ 6.5.2.4 50
capped at 1.5 x Applicable Minimum Salary £23.16/ £23.66/ £24.14/ £24.62/
£20.84 £21.29 £21.72 £22.15

Increases in 2022-23 subject to:

• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.
A 84 Version as of August 2019 Version as of August 2019 85
5
 AP PEN D IX 7: RATES OF PAY FOR 8 P ERFORMANCE S P ER WE EK APP END IX 7: R ATES OF PAY FOR 8 PER FOR MA NCES PER WEE K

payment 8 Apr 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 5 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.

OTHER
Sunday performance payment – performers or stage management per perf given £64.74 £66.16 £67.48 £68.83 3.5 39
Sunday performance payment – booth singers per perf given £58.27 £59.55 £60.74 £61.95 9.1.4 59
Sunday performance payment – supernumeraries per perf given £29.13 £29.77 £30.37 £30.98 9.2.2 59
Electronic Press Kits (marketing & publicity uses / non-commercial gain only 4 weeks after press night) n/a n/a 3.9.3.1 40
Commercial Gain use; making of documentary for 3rd and subsequent transmission per Artist £270.00 £270.00 £270.00 £270.00 3.9.3.3.1 40
Commercial Gain use; making of documentary on secondary UK channel per Artist £135.00 £135.00 £135.00 £135.00 3.9.3.3.2 40
Commercial Gain use; making of documentary worldwide territories (not UK) for 3 year license per Artist £270.00 £270.00 £270.00 £270.00 3.9.3.3.3 41
For using EPK footage beyond 4wks after subsequent press night for worldwide use per Artist £15.00 £15.00 £15.00 £15.00 3.9.3.3.4 41
Booth singers (1/8th of Category C minimum) session fee £72.93 £74.53 £76.02 £77.54 2.3.1.5.6 16
Supernumeraries (1/16th of Category C minimum) session fee £36.46 £37.26 £38.01 £38.77 2.3.1.5.5 16

pension contributions Equity pension Scheme – employer's contribution is 5% – employee’s contribution is 3%

A Employer – maximum employer's contribution of 5% Employer – maximum employer’s contribution of 5%
A
7 Category A maximum contribution – 5% of ceiling salary (x1.75 minimum weekly salary) weekly £62.37 £63.74 £65.01 £66.31 3.1.2 33
7
Category B maximum contribution – 5% of ceiling salary (x1.75 minimum weekly salary) weekly £56.73 £57.98 £59.14 £60.32 3.1.2 33
Category C maximum contribution – 5% of ceiling salary (x1.75 minimum weekly salary) weekly £51.05 £52.17 £53.21 £54.28 3.1.2 33

Employee – minimum employee’s contribution = 3% Employee – minimum employee’s contribution of 3%

Category A minimum contribution 3% of salary weekly £37.42 £38.24 £39.01 £39.79 3.1.2 33
Category B minimum contribution 3% of salary weekly £34.04 £34.79 £35.48 £36.19 3.1.2 33
Category C minimum contribution 3% of salary weekly £30.63 £31.30 £31.93 £32.57 3.1.2 33

Increases in 2022-23 subject to:

• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.

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 AP PEN D IX 8: RATES OF PAY FOR ACTOR- MU SICIANS APP END IX 8: R ATES OF PAY FOR ACTOR- MUS I CIAN S

APPENDIX 8: RATES OF PAY FOR ACTOR-MUSICIANS

From 8 April 2019 – 2 April 2023

payment 8 Apr 2019 1 Oct 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 30 Sep 2019 – 6 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.

AcTOR-MuSIcIANS (applicable where the instrument is played for a substantial part of the performance) The rehearsal and performance rates for Actor-Musicians are
determined by the SOLT/MU figures and so will be increasing
from its October 2019 settlement.

category A (1,100 + seats)

Rehearsal weekly £869.87 TBC TBC TBC TBC 8.1.1 56
Performance – playing 1 instrument weekly £1,027.00 TBC TBC TBC TBC 8.2 56
Performance – playing up to 2 instruments weekly £1,181.05 TBC TBC TBC TBC 8.2 56
Playing 3 or more instruments weekly £1,335.10 TBC TBC TBC TBC 8.2 56
category B (800 – 1099 seats)
Rehearsal weekly £837.67 TBC TBC TBC TBC 8.1.1 56
Performance – playing 1 instrument weekly £1,027.00 TBC TBC TBC TBC 8.2 56
Performance – playing up to 2 instruments weekly £1,181.05 TBC TBC TBC TBC 8.2 56
Playing 3 or more instruments weekly £1,335.10 TBC TBC TBC TBC 8.2 56
A category c (up to 799 seats) A
8 Rehearsal weekly £805.19 TBC TBC TBC TBC 8.1.1 56 8
Performance – playing 1 instrument weekly £1,027.00 TBC TBC TBC TBC 8.2 56
Performance – playing up to 2 instruments weekly £1,181.05 TBC TBC TBC TBC 8.2 56
Playing 3 or more instruments weekly £1,335.10 TBC TBC TBC TBC 8.2 56
category c – Small Theatres Agreement 77.5% rate for 26 wks at a theatre
with a capacity of 799 seats to 700 seats on sale
Rehearsal weekly £689.65 TBC TBC TBC TBC 8.1.2 56
Performance – playing 1 instrument weekly £795.93 TBC TBC TBC TBC 8.2 56
Performance – playing up to 2 instruments weekly £915.31 TBC TBC TBC TBC 8.2 56
Playing 3 or more instruments weekly £1034.70 TBC TBC TBC TBC 8.2 56
category c – Small Theatres Agreement 2/3 rate for 26 wks in a theatre
with a seating capacity of less than 700 seats on sale
Rehearsal weekly £634.02 TBC TBC TBC TBC 8.1.2 56
Performance – playing 1 instrument weekly £684.67 TBC TBC TBC TBC 8.2 56
Performance – playing up to 2 instruments weekly £787.37 TBC TBC TBC TBC 8.2 56
Playing 3 or more instruments weekly £890.07 TBC TBC TBC TBC 8.2 56
Increases in 2022-23 subject to:
• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.

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 AP PEN D IX 8: RATES OF PAY FOR ACTOR- MU SICIANS APP END IX 8: R ATES OF PAY FOR ACTOR- MUS I CIAN S

payment 8 Apr 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 5 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.
AcTOR-MuSIcIAN uNDERSTuDIES
Where an Artist is engaged as an Actor but covers an Actor-Musician:
Understudy Responsibility Payments
• Leading role weekly £42.76 £43.70 £44.57 £45.47 8.3.1 56
• Supporting role weekly £28.51 £29.14 £29.72 £30.32 8.3.2 56

Understudy Performance Payments per perf given Not less than the difference between the Walking 8.3.3 56
Understudy's basic pro-rated per performance and the
Actor-Musician minimum pro-rated per performance.

Where an Actor-Musician is covering another Actor-Musician:

Understudy Responsibility Payments
• Leading role responsibility weekly £28.00 £30.00 £32.00 £35.00 8.4 57
• Supporting role responsibility weekly £18.25 £19.50 £21.00 £22.00 8.4 57
Leading role performance payment per perf given £28.00 £30.00 £32.00 £35.00 8.4 57
Supporting role performance payment per perf given £18.25 £19.50 £21.00 £22.00 8.4 57

AcTOR-MuSIcIAN WALKING uNDERSTuDIES

A Rehearsal and Performance minima (Performer minimum +5%) A
8 category A weekly £748.37 £764.83 £780.13 £795.73 8.5.1 57 8
category B weekly £680.76 £695.73 £709.64 £723.84 8.5.1 57
category c weekly £612.55 £626.01 £638.55 £651.33 8.5.1 57
Responsibility & Performance payments
• one Leading Role responsibility n/a - - - - 8.5.2 57
• two Supporting Roles responsibility n/a - - - - 8.5.2 57
• up to two performances a week n/a - - - - 8.5.2 57
• for each performance over two a week per perf given Not less than the difference between the 8.5.2 57
Understudy's basic pro-rated per performance and the
Actor-Musician minimum pro-rated per performance.

Increases in 2022-23 subject to:

• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.

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 AP PEN D IX 9: RATES OF PAY FOR 12 P ERFOR MANCES P ER WE EK APPE NDI X 9 : R AT ES OF PAY FOR 12 PE R FOR MA NCES PER WEE K

APPENDIX 9: RATES OF PAY FOR 12 PERFORMANCES PER

WEEK (AND IN RELATION TO SCHEDULE 12 – FAMILY SHOWS)
From 8 April 2019 – 2 April 2023

payment 8 Apr 2019 6 Apr 2020 5 Apr 2021 4 Apr 2022 clause page
Description
frequency – 5 Apr 2020 – 4 Apr 2021 – 3 Apr 2022 – 2 Apr 2023 no. no.
MINIMA – 3 minima linked to theatre’s seating capacity
category A (1,100 + seats)
ASM / Performer weekly £834.49 £852.85 £869.91 £887.30 2.3.1.4 16
DSM (60pw uplift) weekly £899.49 £917.85 £934.91 £952.30 6.3.2 48
SM (£120pw uplift) weekly £964.49 £982.85 £999.91 £1017.30 6.3.3 48
CSM – no less than Category A SM rate negotiable 6.3.4 49
category B (800 – 1099 seats)
ASM / Performer weekly £758.61 £775.30 £790.81 £806.63 2.3.1.4 16
DSM (£60pw uplift) weekly £823.61 £840.30 £855.81 £871.63 6.3.2 48
SM (£120pw uplift) weekly £888.61 £905.30 £920.81 £936.63 6.3.3 48
CSM – no less than Category B SM rate negotiable 6.3.4 49
category c (up to 799 seats)
ASM / Performer weekly £682.76 £697.79 £711.74 £725.97 2.3.1.4 16
DSM (£60pw uplift) weekly £747.76 £762.78 £776.74 £790.97 6.3.2 48
SM (£120pw uplift) weekly £812.76 £827.78 £841.74 £855.97 6.3.3 48
A A
CSM – no less than Category C SM rate negotiable 6.3.4 49
9 9
For all other payment minima see Appendix 7

Increases in 2022-23 subject to:

• If the rate of CPI published by the ONS in March 2022 is more than plus 0.5 of a percentage point above the 2.0% increase in rates in April 2022, the level of increase will be revised upwards so that it is not less than 0.5 of a percentage point below
CPI. Subject to a maximum level of increase of 3.5%.
• If the rate of CPI published by the ONS in March 2022 is more than 0.5 of a percentage point below the 2.0% increase in rates, the rate increase will be revised downwards so that it is not more than 0.5 of a percentage point above CPI. Subject to
the minimum level of increase being 1.0%.

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IN DEX IND EX

INDEX Auditions commercial Theatre Agreement Recording ........................................................................ 40

Advertisements .............................................................. 72 Allowances ...................................................................... 21 Uses & Payment for Use ............................................ 40
Abandoned Facilities ............................................................................ 70 Definition .............................................................................. 6 Equal Opportunities .......................................................... 4
Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Minority Registers . ......................................................... 28 Touring under . ................................................................. 12 Equity
Absence Procedures . ............................................................... 70-71 company Manager Business . ........................................................................... 24
Adoption. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Average Salary Additional Duties . ........................................................... 49 Deputy . ................................................................................. 6
Arranged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Definition . ............................................................................. 5 Definition .............................................................................. 6 Information to be Provided . ....................................... 26
At Calls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Background Recordings ...................................... 41-42 compassionate Leave . ................................................. 30 Exclusive Services . ......................................................... 13
Certification . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Base Salary compensatory Rest ...................................................... 18 Extra contractual Work ................................................ 13
Compassionate Leave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Definition . ............................................................................. 5 complaints by Artist ........................................................ 24 Existing Medical conditions
Maternity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Basic Salary contract Actor to Notify . ......................................................... 32/37
Notification of . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Definition . ............................................................................. 5 Definition .............................................................................. 6 Extra Feature
Ongoing .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23/34-35 Betterment Renewal ...................................................................... 15/46 Definition .............................................................................. 6
Parental. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Stage Management ...................................................... 51 Types of ............................................................................ 12 Extra Services
Paternity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Walking Understudy ...................................................... 53 Use Of Standard . ........................................................... 11 Stage Management . ..................................................... 51
Time Off for Dependants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Billing costumes Facilities
Actor Artists .. . . ............................................................................ 39 Fittings .............................................................................. 13 Auditions . ......................................................................... 70
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Understudies .................................................................. 55 Hire of Artist’s Own ........................................................ 43 Stage Management . ..................................................... 51
Minimum Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17 Blacks Maintenance ...................................................... 51 Provision of ...................................................................... 43 Warm-Ups ........................................................................ 26
Actor-Musician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-58 Booth Singer Understudy ...................................................................... 55 Failure To produce . ......................................................... 15
Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-57 Definition . ............................................................................. 5 cover Family Friendly provisions .................................. 28-30
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Minimum Salary .............................................................. 16 Changes to Responsibilities . ............................... 46/54 Family Shows . ................................................................... 63
Minimum Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17/Appendix 8 Schedule for Booth Singers ...................................... 59 Definition .............................................................................. 6 Definition . ........................................................................... 6
Addendum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Breaks Emergency ...................................................................... 54 Feature
Additional performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Between Performances Rehearsals ................................................................ 54-55 Definition .............................................................................. 6
Adoption Leave . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Performers & Stage Managers . ........................... 38 Right to be Considered as Take Over . ................... 55 More Than 3 . ................................................................... 53
Advertisements for auditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Included In Hours? Right to Perform . ........................................................... 55 Payment . ........................................................................... 53
Agreement .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Actors .......................................................................... 46 Standing In at Rehearsals . ......................................... 55 Financial provisions
Duration .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Stage Management ................................................ 49 Temporary ........................................................................ 17 Definition .............................................................................. 6
Alcohol .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79-80 Meal break during Work curtain calls – recording . ............................................. 42 Flying
Allowances Actors & Stage Managers .................................... 38 Dance captain Artist’s Right to Refuse ................................................ 45
Late Night Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Missed Definition .............................................................................. 6 Force Majeure. ................................................................... 14
Relocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Actors .......................................................................... 47 Overtime ............................................................................ 59 Grievance procedure .............................................. 66-67
Pre and Post West End Tours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Stage Management ................................................ 50 Responsibilities . ............................................................. 59 Gross Misconduct . ......................................................... 68
Alternate Overnight Definitions ............................................................................ 10 Guidelines for publicity and
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Actors & Stage Managers .................................... 38 Disciplinary & Grievance procedure promotional Activity . ..................................................... 78
Annual Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-20 Pre-Performance Appeals ...................................................................... 64-69 Hair . ....................................................................................... 44
Appearance On Stage Actors & Stage Managers .................................... 38 Purpose & Scope .......................................................... 64 Health And Safety
Stage Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Short / Tea Breaks Gross Misconduct ........................................................ 68 Artist’s Responsibility ............................................ 37/79
Appendices .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Actors & Stage Managers .................................... 38 Right to be Accompanied . ......................................... 64 Manager’s Responsibilities .................................. 26-27
Applicable Minimum Salary Travel Between Calls Suspension ...................................................................... 65 Raked Stages .......................................................... 73-75
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Actors & Stage Managers .................................... 38 Warnings . ......................................................................... 67 Holiday
Usage .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17 When Working on Rake .............................................. 73 in relation to Incapacity . ............................................... 36 Annual Entitlement ........................................................ 19
Arbitration Broken Weeks.................................................................... 14 Dressers Public. ................................................................................. 20
Through The Theatre Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Hours of Work Calculation . ......................................... 46 Manager to Provide ...................................................... 43 Single Days . ..................................................................... 20
Archive call Drugs and alcohol.............................................. 68/79-80 Timing of .................................................................... 19-20
Recordings .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41-42 Cancelled .......................................................................... 24 Emergency Unused . ............................................................................. 20
Artist Definition . ............................................................................. 5 Definition .............................................................................. 6 Offsetting Non-availability............................................ 13
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Notice of ............................................................................ 25 Emergency cover Hours Of Work
Artist’s Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31/79 cast Albums . ..................................................................... 41 Short Contracts . ............................................................. 17 Actors ................................................................................ 46
Artist’s Responsibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 categories of theatre Understudies . ................................................................. 54 Adjustment for Partial Weeks .................................... 38
Artist’s Schedule Basic Pay .......................................................................... 16 Employment Booth Singers ................................................................ 59
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Changes to . ..................................................................... 17 Dates .......................................................................... 11-13 Calculating for Working Time .................................... 18
Artist’s Schedule of professional conduct . . . . 79-80 Definition . ............................................................................. 5 Delays . ............................................................................... 11 Definition .............................................................................. 6
Artist’s Undertaking .. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29-30 ceilings Suspension – force majeure . ..................................... 14 Minors/Performers Under 16 . ............................. 16/60
Artist’s Week Rates .. . . .......................................... Appendix 7 / 84-85 Termination ................................................................ 22-23 Broken Weeks ................................................................ 14
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 christmas period Ensemble Stage Managers . ........................................................... 48
Assisted performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Definition . ............................................................................. 5 Definition .............................................................................. 6 Supernumeraries . ........................................................... 59
Audio-visual Recordings .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41-42 Schedule Change during Christmas period . ........... 18 EpK – Electronic press Kits Implementation . ................................................................. 4
Consent ............................................................................ 40 Definition .............................................................................. 7

94 Version as of August 2019 Version as of August 2019 95

IN DEX IND EX

Incapacity .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33-37/80 Archival Recordings ...................................................... 42 Duties............................................................................ 31 Return to In Transfer Situation . ................................. 13
Conditions.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33-35 National Insurance . ......................................................... 27 Period Salary Period
Pay Nominated Rest Day Definition ........................................................................ 8 Definition ........................................................................ 9
Conditions . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Breach.. . . ............................................................................ 18 Salary Responsibilities
Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35 Definition . ............................................................................. 7 Definition ........................................................................ 8 Artist .............................................................. 31-37/46/79
Prior to Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Not Be Counted As Holiday ...................................... 19 Schedule Stage Management . ....................................... 37/48/79
Salary .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-36 Sunday Performances.................................................. 18 Definition ........................................................................ 8 Rest Day .............................. See Nominated Rest Day
Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Working . ..................................................................... 46/49 Time Return to Work Form . ............................................. 35/80
Salary Period .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35 Non-availabilities ............................................................ 13 Definition ........................................................................ 8 Rider. ....................................................................................... 11
Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Not Less Than performance Schedule Role
Termination Following Continued . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Definition . ............................................................................. 7 Definition .............................................................................. 8 Definition .............................................................................. 9
Treatment Costs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Notice Flexible Scheduling ................................................ 18-19 Run Of The Show
Injury Remuneration Due to Force Majeure .................................................. 14 performer Definition . ......................................................................... 12
From 3rd Party . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Of Abandonment of Production .............................. 15 Definition .............................................................................. 8 Salary
Insurance Of Call .. . . ............................................................................ 24 Under 16 .................................................................. 16/607 Definition .............................................................................. 9
Artist’s Possessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Of Termination .......................................................... 11-12 photographs During Holidays .................................................... 18 – 19
Hazardous Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Notices Change When Artist Leaves . ............................... 22/44 Minimum
Medical Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Company .......................................................................... 25 place of Work Actor . ..................................................................... 16-17
National Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Made Available to Equity Dep .................................. 26 Definition .............................................................................. 8 Actor-Musician . ........................................... 36/88-91
of Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Nudity pre Or post contractual Work . ................................. 13 Booth Singer . ............................................................. 16
Lateness At Auditions . ..................................................................... 62 press Night Minor/Performers Under 16. ................................. 16
Cover Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Photographs .................................................................... 45 Definition .............................................................................. 8 No Reduction In ........................................................ 26
Leading Role Old Agreement .................................................................... 7 preview period Stage Management . ......................................... 16/48
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Option Arrangement Definition .............................................................................. 8 Supernumeraries . ..................................................... 16
Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Definition . ............................................................................. 7 Periods of Flexible Scheduling . ................................. 19 Partial Weeks . ........................................................... 15
Lieu Day .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Transfer .. ............................................................................ 13 Public Holidays during . ............................................... 20 Taking Over a Role ............................................ 46/55
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Overtime production Transfer of Duties .................................................... 49
Ltd company . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Booth Singers ................................................................ 59 Change to theatre capacity . ..................................... 17 Schedule ................................................................................ 9
Make-up Calculation of Hours (Actor) . ............................... 46-47 Definition .............................................................................. 8 Definition .............................................................................. 9
Manager to Supply Specialised . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Calculation of Hours (Stage Management) .... 49-50 programmes Schedules .............................................................................. 3
Making Of Documentary Dance Captain ................................................................ 59 Artists Details . ................................................................. 26 Scope
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Minimum Calls Understudy ...................................................................... 55 Artists .................................................................................... 3
Uses and payments .. . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40-41 Actor . ..................................................................... 46-47 prompt Script .................................................................... 51 Scripts and Scores. ......................................................... 27
Manager Stage Management .......................................... 49-50 prosecution Prompt Script . ................................................................. 51
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Rehearsing Role Not Previously Covered . ........... 46 Of Production . ................................................................. 27 Short Run Guarantee .................................................... 14
Manning Levels Single Time Rate public Holiday Sick pay and SSp . ................................. See Incapacity
Cast Reductions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Actors .......................................................................... 46 Definition .............................................................................. 9 Social Media . ..................................................................... 79
Covers .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Stage Management ................................................ 49 Provisions ........................................................................ 20 Split Weeks ...................................... See Broken Weeks
Family Show .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Work On Public Holiday public Statements . ................................................... 31/78 Stage Management
Stage Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Actor ............................................................................ 47 publicity .......................................................................... 22/44 Betterment........................................................................ 51
Walking Understudy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Stage Management ................................................ 50 Guidelines ........................................................................ 78 Definition .............................................................................. 9
Maternity Leave . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Work on Nominated Rest Day Transport to calls . ........................................................... 22 Duties when Actor ........................................................ 59
Meal Allowance Actor ............................................................................ 46 Raked Stages .............................................................. 73-75 Standard contract . ......................................................... 11
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Stage Manager. ......................................................... 49 Rates of pay ................................................................ 82-93 Excerpt........................................................................ 76-77
Extra Contractual Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 parental Leave .................................................................. 29 Recordings Statutory Sick pay .................................................... 33-36
Minimum Run Guarantee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 part Archive .............................................................................. 42 Sunday performances . ................................................. 18
Minimum Salary Definition . ............................................................................. 8 Background .............................................................. 41-42 Additional Payment . ..................................................... 18
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 paternity Leave ................................................................ 29 Cast Albums .................................................................... 41 Actors & Stage Management . ............................. 39
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17 payment of Salary . ......................................................... 17 Curtain Calls .................................................................... 42 Booth Singers . ........................................................... 59
Minor Or crowd Role pension Scheme .............................................................. 33 EPKs . ........................................................................... 40-41 Supernumeraries . ..................................................... 59
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 per performance Salary Redundancy ........................................................................ 30 During Periods of Flexible Scheduling .................... 18
Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Definition . ............................................................................. 8 Rehearsal Notice ................................................................................ 18
Minors – performers under 16 periods of Flexible Scheduling ................................ 19 Actor’s Salary . ........................................................... 16-17 Schedule Changes ........................................................ 18
Minimum Salary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Definition . ............................................................................. 8 Appropriate Person To Conduct . ............................. 28 Supernumerary
Other Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 performance Covers ........................................................................ 53-54 Definition .............................................................................. 9
Narrowcast Additional Minimum Periods .......................................................... 39 Minimum Salary . ............................................................. 16
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Occasional .................................................................. 39 Period Rehearsal . ......................................................................... 59
Use of recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Regular ........................................................................ 39 Definition ........................................................................ 9 Sunday . ............................................................................. 59
National Archive of performances Performance Call Salary Supporting Role
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Definition ........................................................................ 8 Definition ........................................................................ 9 Definition .............................................................................. 9

96 Version as of August 2019 Version as of August 2019 97

IN DEX AGREEM ENT FOR WE ST END T HEATR E A RTISTS

Payments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Right to Complete a Performance .......................... 55

Suspension Standing In at Rehearsals . ......................................... 56
Disciplinary Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Supporting Role
Of Artist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Definition ........................................................................ 9
Of Production Payments .................................................................... 52
Force Majeure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Walking
Swing Betterment .................................................................. 53
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Initial Covers Not Payable .................................... 53
Payment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 vAT . . . . . . . . . . . . . . ............................................................................ 17
Tea Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Walking understudy
Temporary cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Betterment........................................................................ 53
Termination Definition . ............................................................................. 9
After Continued Absence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Initial Covers Not Payable . ......................................... 53
Because Understudy Withdrawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Warm up .. ............................................................................ 31
Before Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Hours Of Work Within .................................................... 6
Betterment Overseen by Dance Captain ...................................... 59
Does Not Apply to Swings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Raked Stages .................................................................. 75
Stage Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Warranty
Walking Understudy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Artist. . . . . . . . ............................................................................ 32
Due to Force Majeure . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Week
During Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Definition . ............................................................................. 9
Of Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Working Time Regulations ........................................ 18
The Half Definition .......................................................................... 10
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Calculation of Hours – actors ............................ 46-47
Theatre council . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Calculation of Hours – stage management . . 49-50
Theatre Management Workplace
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Conditions ........................................................................ 25
Time Off For Dependants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Work for Other Productions ...................................... 51
Touring
Allowances & Expenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Pre & Post London Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Pre / Post London Under This Agreement . . . . 12-13
Tour Dates in London . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Under Commercial Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Transfer
From Another Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Transport
Late Hours . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Non-availability of public transport . . . . . . . . . . . . . . . . . . . . . . . . . . 22
To press, publicity & promotional calls . . . . . . . . . . . . . . . . . . 22
understudy
Audience Notification. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Definition .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Leading Role
Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Payments .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Manning Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Manning Levels for Walking Understudies .. . . . . . . . . . . 52
Minor Or Crowd
Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Payments .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Order When More Than One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Performance Payments
Cap .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Understudies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-54
Responsibility Payments
Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Start Date/Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Understudies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

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AGREEM ENT FOR WEST END THEATRE ART ISTS AGREEM ENT FOR WE ST END T HEATR E A RTISTS

STANDING IN AT REHEARSALS
Summary of the main changes to the 2019-2023 Agreement
• Payment due when the cover stands in any time after final understudy 7.2.2
rehearsal

DANCE CAPTAINS
SOCIAL MEDIA
• Clarification of dance captain responsibilities. 9.3.2
• Social media policy to be given to the Artist at point of contract where 2.1.9
possible.
CHILD PERFORMERS
BUY-OUTS • Provisions for termination with notice in particular circumstances. 9.5.2
• Clarification that holiday pay can’t be included in a buy-out and is to be 2.1.2
paid in addition to basic pay. EQUAL OPPORTUNITIES
• Amended clause. ‘B’
EXTRA-CONTRACTUAL WORK
• Pre-contract costume and wig fittings paid at greater of £25 or 2.2.3.3 DIGNITY AT WORK POLICY
travel costs. 2.1
• Requirement for Managers to have a Dignity at Work Policy.

CHRISTMAS DAY
FLEXIBLE WORKING
• Where the contract is over Christmas, Christmas Day as an unworked day is 2.8
• Requirement for the Manager to consider flexible working requests / job 2.2
paid at holiday pay and not part of the Artist’s accrued holiday entitlement.
share.

NON-AVAILABILITY OF TRANSPORT OTHER THAN LATE HOURS

NUDITY & SIMULATED SEX ACTS
• Payment of approved travel expenses for up to 35 miles from Charing Cross 2.10.2 Schedule 11
• Provisions in regard to Artist welfare and having an additional person present.
(change from within circumference of M25).

CODE OF CONDUCT FOR AUDITIONS

EQUITY BUSINESS
• Revisions in relation to preparation and audition procedures; notification; Appendix 2
• Meeting allowable within first fortnight of Rehearsal Period (change from 2.13.2.2
casting breakdowns.
within first week).

FINANCIAL PROVISIONS
INCAPACITY
3.2.11 • Stage management uplift – increase to £65 between roles
• Provision for Manager to consider providing preventative training /
coaching / support in certain circumstances. • Understudy responsibility and performance rates - increased
• Swing payments - increased
BILLING • Dance captain payments - increased
• Provisions for billing stage management in particular circumstances. 3.8 • EPK fees – increase in Year 1 then static
• Ceilings (failure to produce; West End Relocation Rate cut-offs and
COSTUMES, WIGS & MAKE-UP understudy ceilings) have been frozen.

• Footwear provision specifications. 4.2.1.6

TRANSFER OF DUTIES
• Changes to when the top-up pay is due to stage management for covering 6.3.5
a more senior role.

SWINGS
• Swing track responsibilities to be set by the final understudy rehearsal. 7.1.3

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AGREEM ENT FOR WEST END THEATRE ART ISTS

104 Version as of August 2019

32 Rose Street Guild House
London Upper St Martin’s Lane
WC2E 9ET London WC2H 9EG
Tel: 020 7557 6700 Tel: 0230 7379 6000
Fax: 020 7557 6799 Fax: 020 7379 7001
www.solt.co.uk www.equity.org.uk

Version as of August 2019

12592/10/09, 12668/03/10, 12837/01/11, 13047/10/11, 13121/04/12, 13312/05/13, 13985/06/15, 15018/04/17, 16082/04/19