.png)
What Does a General Manager Actually Do for a Reading? Pt. 2: Hiring & Union Compliance
- Christopher Michaels
- Jun 5
- 5 min read
Welcome to the second of my six-part series: What Does a General Manager Actually Do for a Reading? Today, we're covering the next important piece of the reading puzzle:
Hiring & Union Compliance
So you're planning a reading of your new play or musical... Exciting! Maybe it's the first time hearing it out loud, or maybe it's a crucial step toward production. You've got your script, your collaborators, a vision, and... wait, someone just asked what contract you're using?!
This is where a General Manager (GM) or Executive Producer (EP) steps in and saves the day.
When you're just starting out as a playwright, producer, or GM yourself, you might assume that a small reading doesn't come with much red tape. But here's the truth: even a simple developmental reading (especially if you're working with union talent) has rules. And ignoring them can lead to big problems!
Let's start with...
Who Actually Gets Hired for a Reading (and Why Your GM's Rolodex Matters)
Even a short reading involves more than just actors. Depending on your piece, you'll likely need a director, a stage manager (required for Equity readings), possibly a music director or pianist, and of course, your cast. That's the core team.
But depending on the goals of your reading, the caliber of talent, who you're trying to get in the room, and what the next step is in your development process, you may also need a casting director, a press agent, graphic and web designer, social media director, production assistants, etc. And finding the right people for those roles and your core team can make or break the room.
This is where your GM's network becomes invaluable. GMs who've been in the trenches of development know exactly who to call for a last-minute replacement, a killer music director who reads fast and plays faster, or a seasoned stage manager who can keep the room running like clockwork on a tight schedule. We're not just plugging in names, we're pulling from years of trusted collaborations to assemble a team that understands the pace and spirit of new work. And because we know who's union, who's available, and who thrives in developmental spaces, we save you hours of scrambling and get you great talent fast, often within budget and with all the paperwork handled.
Hiring for a reading isn't about filling slots. It's about building the right chemistry for a high-stakes, low-time creative process. Your GM's relationships and reputation are what turn a spreadsheet of names into a real, working team.
But let's just look at the core team: actors, stage managers, and directors.
Actor's Equity Association (AEA)
If you're working with actors or stage managers who are members of Actors' Equity Association, the stage performers' union, you'll likely use something like the AEA 29-Hour Reading Agreement. This is a go-to agreement for early development and allows you:
Up to 29 hours of rehearsal and performance over two weeks
A modest stipend for each performer
A reading with no advertising, no reviews, and no ticket sales
The agreement also requires:
Strict limits on rehearsal hours
Advance paperwork and reporting
It does not require health and pension contributions or contracts.
Stage Directors and Choreographers Society (SDC)
If your reading includes a professional director who is a member of SDC (Stage Directors and Choreographers Society), you'll need to comply with SDC's Development Agreement which works alongside the AEA 29-Hour Reading Agreement. Just like with actors, union directors have protections, and yes, they start at the reading stage.
The SDC Development Agreement typically includes:
A signed contract outlining the scope of work, rehearsal period, and expectations
A modest fee
Health and pension contributions based on the number of rehearsal days
Billing requirements, ensuring the director is appropriately acknowledged
The agreement also requires:
There be no box office income
The reading is not open to the press
The rehearsal period does not exceed three weeks
Advance paperwork and reporting
A rider may also need to be included if your director is working with the writer on dramaturgical work or if a production beyond the reading is imminent.
Even for informal readings, the Development Agreement reinforces that the director's contribution is part of the professional life of the project. Your General Manager will make sure the contract is correctly executed, contributions are paid to the union, and the process is smooth from both a legal and logistical perspective. It's easy to overlook, but missing this step can create issues later, especially if the reading becomes part of your show's developmental path.
Just like with AEA, the GM acts as the liaison to ensure everyone is protected and properly compensated, because honoring artists' labor starts here, not just when the curtain goes up on a full production.
What Does "Union Compliance" Even Mean?
Union compliance means following the rules and requirements set by theatrical unions like Actors' Equity Association (AEA) and the Stage Directors and Choreographers Society (SDC). These unions exist to protect artists ensuring fair pay, safe working conditions, and proper credit. When you're doing a reading or workshop, compliance includes using the correct contracts, paying required stipends and benefits (like health and pension), sticking to time limits, and filing paperwork on time. It's not just bureaucracy, it's about respecting the artists you've hired and protecting your project from future complications.
The GM's Role in Union Compliance
A GM is responsible for keeping your reading running smoothly and legally:
Files the paperwork with Equity on time
Tracks rehearsal hours so you don't go over the 29-hour cap
Issues contracts and offer letters that match the agreement
Handles health and pension contributions (yes, those can apply even for readings!)
Verifies union membership for all actors, directors, and stage managers
Advises on who you can and can't cast, depending on the agreement used
Negotiates with the union, if something in your reading setup needs special attention
In short: we make sure your artistic baby doesn't accidentally break a rule that could delay or derail your process.
What If You're Hiring Both Union and Non-Union Talent?
Good question! A skilled GM will help you navigate this carefully. Most Equity agreements have rules about how many (if any) non-union artists can be involved. However, since a reading isn't a contract, it's a code, these rules don't apply. You can do a reading with all union members, no union members, or any mix of both.
The GM checks everyone's status, helps you understand what's allowed, and can help you find the best possible combination of talent while staying within the rules.
"I Just Want to Hear My Script. Do I Really Need a GM?"
If you're a playwright or first-time producer working with union actors, the short answer is: Yes, if you want to protect your process. The General Manager acts as a buffer between your creative goals and the administrative red tape. We make sure you don't:
Go over time
Miss a required payment
Accidentally invite the wrong audience
Void your agreement
Hiring someone who is comfortable with these agreements and union relationships is how you build trust, professionalism, and real longevity in this business. We're not just paper-pushing; we're safeguarding everyone's work.
TL;DR (Although, I hope it isn't and I hope you did!)
Whether you're a playwright planning your first reading, a producer with a tight budget, or an early-career GM building your chops, union compliance is non-negotiable, and hiring is where it all starts. A great General Manager will make it feel seamless, but underneath that calm surface is a lot of careful math, relationship management, and expertise with union agreements.
Need help producing or managing your next reading or workshop? I specialize in helping new plays and musicals move from page to production. Let's connect!
Comments