Under the CTA and the ITA, the Theatre must hold true in-person (not videoconference) auditions, but may accommodate Artists who can’t attend in person by accepting self-tapes. Please review Clause 8:06 (V) for more about this.

Changes to the Signed Contract;

Changes to the Signed Contract

If there are changes to the contract after it’s been executed and filed with Equity, please do not issue a new contract. Rather, issue a rider to the existing contract. Having multiple contracts between the Artist and Theatre for the same activity creates confusion.

Additionally, please don’t make changes to an executed contract or rider without ensuring that both parties initial the change.

Company Category-Single Production

Company Category-Single Production

The Company Category Calculation is meant to support your claim that you are not contracting at ‘A’ category. If you’re contracting at ‘A’, there’s no need to file one. Otherwise, you need to file both the calculation and the supporting documentation for pricing and any discounts you claim. 

Your calculation (including supporting documentation) is due before you issue any contracts. 

It’s the Theatre’s responsibility to ensure there is sufficient bond in place to secure a contract before you issue it.

Company Category-Series;

Company Category-Series

If you’re filing a calculation for your series, please include all supporting documentation and your performance calendar, and be sure you file it before issuing any contracts for the season.

Again, it’s the Theatre’s responsibility to ensure there is sufficient bond in place to secure a contract before you issue it.

If you’re seeking to post a peak bond, please provide all the information required by Clause 33:02 (B) (ii). It’s wise to build in headroom, because if you later were to add a workshop to your peak week, your peak would be rendered inadequate and this creates an administrative burden for us all as we must require an immediate top-up to your bond.

Contracts starting mid-week;

Contracts starting mid-week (Partial Week of Engagement)

The Engagement Week runs from Monday to Sunday, as defined in Clause 18:18. If an Artist’s contract starts on Monday or Tuesday, they are paid for the full engagement week. 

If an Artist’s contract starts on any other day of the week, the week’s fee may be prorated. To accomplish this, the Theatre must pay for each prorated day plus the applicable Insurance Top Up. 

Similarly, if an Artist’s contract ends mid-week, the week’s fee may also be prorated. If the contract ends on a Saturday or Sunday, the full week’s fee applies.

Please refer to Clause 16:10 and reach out if you have questions. Or check out our Calculating a Partial Week of Engagement cheat sheet.

Extraordinary Risk riders;

Extraordinary Risk riders

Please keep the following in mind:

  • If there’s stage combat in your production, those involved must be signed to an Extraordinary Risk rider. Please refer to the definition in Clause 18:19.
  • “The Artist may” does not allow us to apply extraordinary risk to the contract. Please use definitive language “The Artist will/is required to/agrees to…”
  • It’s a good idea to include language that explains steps the Theatre is taking to mitigate the risk (treated surfaces, shoe soles, extra time working with the risk, padded costumes, etc.).
Intimacy riders;

Intimacy riders

Where the Artist will perform in an intimate scene, the specifics of the intimacy must be agreed upon in a rider. Please refer to Clause 31:02 Nudity and Acts of Intimacy in Production.



If you are a PACT member, engaging under the CTA, log into PACT’s website to get your paperwork.

If you are an ITA engager, you can find the paperwork you need to file on this page of Equity’s website.



Remittances comprise part of the Artist’s fee. The Theatre may not retain them but must send them to Equity every 2 weeks, as outlined in Clause 16:17.

Stage Management;

Stage Management

Under the CTA and the ITA, the SM and ASM (if required) must be members of Equity. If you encounter difficulty in your SM search, please do 2 things: 

  1. Email us for a Stage Management availability list, providing the outside dates of engagement. We’ll generate a list of Equity SMs who don’t have conflicting contracts entered in our system. Note: Artists on this list may have availability conficts outside of Equity’s jurisdiction.
  2. Post the job to e-Drive.


  • Production Checklists (the form is labeled Production Registration) are due at least 15 business days prior to the start of the SM prep week. See Clause 16:16 in your Agreement.
  • Your Article 10 statement and Anti-harassment Policy are due along with the first Production Registration of your season.
  • Contracts are due within 5 days of receiving the countersigned contract from the Artist, and no Artist may start work without a signed contract.