Auditions

I was wondering how long it would take for this to get to the website...

> All the cast went into their rehearsal/performance season with full knowledge of the
> conditions regarding payment or non payment as the case may be

No, Sonja, they didn't. Nor did any of us have any idea that the show would be double cast, not only principals, but chorus; that some people would be given parts, only to never given the opportunity to perform them...I could go on, but I've said it all before. Please refer to the posts from August last year about that exceptionally difficult production.

> and Pat has not changed company's, rather he is simply a part of another company, 'On > Stage Productions'...

Does that not therefore mean he has changed companies since he is no longer with Music Spectrum? (Which went belly up due to money disputes...) Or with Omnibus? (Which went belly up due to money disputes....hang on there's a trend happening here...)

> The registering of this company was never done by Pat but by his partner...

But you can be guaranteed that Pat will have a share of the profits.

I was in a show with a close relative of Pat's who said, quite unreservedly, that Pat makes large amounts of money from these shows he puts up. Apparently he was able to put an extension on his house after a production of the Sleeping Beauty a few years ago.

The main reason he is able to do this, is 1) because he doesn't pay performers and most tech crew (which is certainly no crime, but is really rather unethical considering the amount of money he makes off the shows) and 2) Because he does not incorporate his company, meaning that all of the profits would have to go back into subsequent productions, not into his pocket.

Now, there are other companies which operate where director and crew are paid but not the actors - WA Youth Theatre and BSX being prime examples. HOWEVER, these companies give their performers access to, and valuable contact with, professional (i.e. not just paid but working in the industry) directors, producers and crew, who have no reservations in later casting these young performers in fully professional productions. As I have mentioned before, Simon Nichols from BSX and Olivia Hogan from WAYTCo have gone on to professional jobs with the parent bodies of these companies. I believe Pat Barton's background is in airconditioning sales, not professional theatre. These companies also have industry nights for the cast, where relevant industry heavy-weights are invited and schmoozed post-show primarily for the benefit of the cast. Cast also get comps (the only reason we got them in Les Mis was because they couldn't fill a show - we only got 24 hours notice to use these comps, and for only one performance. If this hadn't happened, we would never have got them). These companies are also fully incorporated - production staff and crew are on a fixed wage, and any and all profits are put directly back into later productions. No potiential for house extensions there.

I STRONGLY URGE PEOPLE NOT TO AUDITION FOR THIS PRODUCTION OF MY FAIR LADY. Apart from any unpleasantries associated with Les Mis, such productions are extremely damaging to Perth's already struggling industry. 'Producers' such as Pat Barton only give the thumbs up to other would-be entrepreneurs: they essentially say that Perth actors and crew are willing to work for nothing, while alleged producers and directors benefit hugely from any financial success of the production.

> Websites like this can go a long way into putting more power into the hands of the
> performers and stage-workers, allowing them to promote ethical operators and
> discourage dodgy ones.

Hear, hear. Consider yourself warned.

And, yes. This is my real name.

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