The struggle to gain the priviledge of 99 came to the fore in 1972. Before that the theatre community [actors, playwrights, and directors] was restricted to 'workshop productions' if using AEA members outside of a regular contract: short runs, small audiences, and no ticket or donation revenuew.
Would love to hear any material about the negotiations, desires, losses and triumphs:  the who, what, where, how - basics and not-so-basics!

What were the negotiations and efforts like outside of the L.A. Times reports?

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