To Tour or Not to Tour

Is Life on the Road or Open Seas for You?

by Stefanie Maiya Lehmann

Every year, thousands of theatre professionals pack up their suitcases and leave their homes behind to begin life on the road. For these professionals, the tour life can sometimes feel like a world filled with dichotomies. It is glamorous but grueling, repetitive yet constantly changing. For some young professionals, joining a touring production or cruise can be quite the boon to their financial situations. Some only tour while they’re young or will only take a tour when they need a reset to their city life, while others have thrived in this segment of the industry, becoming old “road dogs” or “road warriors.” Either way, cruise line, regional, national and international touring productions are a vital part of the theatre industry, filled with opportunities for young professionals to make a sustainable living.

Yael Reich portrays Eva Perón in the 2019 U.S. tour of Evita.

Photo courtesy of Plan-B Entertainment

“Touring isn’t for everybody, but it is such a great opportunity for actors to really test their skills out on various audiences with wide arrays of experiences and opinions,” said Jason Styres, CSA, casting director for numerous touring productions, including A Gentleman’s Guide to Love & Murder, The Lion King, Fiddler on the Roof, Rogers + Hammerstein’s Cinderella and The King and I. “You can learn so much about how to be an adaptable, engaging artist simply by being in these ever-shifting environments.”

According to The Broadway League, the 700-plus member national trade association for the Broadway industry, in the 2017-2018 season, the attendance for touring Equity Broadway productions alone reached 17 million people. These tours grossed about $1.4 billion and visited 200 cities across the United States. Add to that the numerous non-Equity, cruise ship, children’s company, and smaller regional company tours, and the amount of work in the U.S. for those willing to live out of a suitcase is impressive.

NATIONAL TOURS

For many, snagging a spot on a national tour can feel like a once-in-a-lifetime opportunity. Where else can you combine the pay of a touring contract, the cost savings of living on the road, and the opportunity to travel to major cities and perform for enthusiastic new audiences each night? Yael Reich, who played Eva Perón in the 2019 U.S. tour of Evita, found the opportunity to join the national tour irresistible. “When that happens ever so rarely in someone’s career, it’s pretty much a no-brainer!” she said.

Like others who have been on national tours, Reich said it’s a rewarding experience unlike any other.

“There is something truly magical about walking out on a different stage in each city and sharing an exchange of energy with a new group of human beings every single night. It is truly intoxicating and so rewarding to see the expressions on the audience’s faces change and shift as the show progresses. I remember there was one night I was on for Maureen on the Rent tour and I walked out of the stage door and there were two little girls waiting for us, greeting every member of the cast. They ran to me and started singing all of ‘Take Me or Leave Me.’ It was incredible! We later received a video of that same girl doing the entirety of ‘Over the Moon.’ Moments like this, knowing we’ve reached the heart and soul of another human being, are so sacred and rewarding.”

Performers aren’t the only ones drawn to touring. Kersten Gavin, currently working as crew swing for the Wardrobe/Hair and Make-up Departments for The Lion King North American Tour, relishes the opportunity tours provide to travel the world and meet new people. “Those experiences are priceless. I get to see the world in ways that most people only dream about,” Gavin said. “You get to see the world and give them your gift.”

However, national tours are not a dream come true every minute of the day, Gavin cautions. “Touring is a complete lifestyle change,” she said. “It’s not a typical 9-to-5 job. You are constantly moving. The hours are sometimes very strenuous, especially during load-ins. Life on the road is hard. It’s not easy.”

Those who are interested in touring need to understand the challenges they will face, Gavin said. “I wish someone had warned me more about the hardships of this kind of life,” she said. “The sacrifices you end up making. The challenge of being away from your support system. Being utterly alone sometimes. I wish people hadn’t sugar-coated this job for me. I would have wanted to have known the good and the bad parts.”

Kate Whitecotton, company manager for Nebraska Theatre Caravan, which annually produces a national tour of A Christmas Carol that has performed in over 600 cities in 49 states and four Canadian provinces, also emphasizes the adjustments required of cast and crew members who are new to touring.

“Going from a controlled environment to performing a six-week tour with stops all over the United States always provides challenges to new company members,” Whitecotton said. “Each venue is different, each city is different, and each day presents new experiences that are unique only to a touring show.”

Casting notices for national tours can be found through the typical online casting notice boards such as Playbill, Backstage, Broadway World and the Actors’ Equity Casting Call website for union members. In addition, some companies cast at the SETC Professional Auditions. The large national tours often cast out of New York City. The casting and callback process can be quick and condensed into a short period of time.

Many of the major blockbuster tours are produced by the same companies that produced the original Broadway productions. However, there are some other major names you’ll see producing touring productions such as NETworks Presentations, TROIKA Entertainment, Big League Theatricals, Work Light Productions and Phoenix Productions. These major names often manage several touring productions at the same time. Each contract is different, depending on the individual production and unique factors, such as the tour schedule, locations, overall length of tour and type of travel.

Tips From the Road: Yael Reich

Yael Reich

LATEST ROLE: Eva Perón, Evita, U.S. Tour, January-March 2019

PREVIOUS TOURS: Mamma Mia!, Mamma Mia! Farewell Tour, Rent 20th Anniversary Tour

DEGREE: Bachelor of Fine Arts, Musical Theatre, University of Florida, 2015

PRO SKILLS I HAVE DEVELOPED: I think I’ve really mastered cooking delicious meals on the road. You’d be surprised how creative one can get with a collapsible tea kettle, a mini crock pot, and the hotel ice bucket! The one thing I have learned is that self-care is a must. Whether it’s hitting the gym every day, bringing along a yoga mat or an instrument, creating familiarity– in the midst of a lifestyle filled with variables ranging from the weather to how each theatre is laid out – is key.

BIGGEST CHALLENGES: There were times we’d roll into a new city, and I’d realize I’m super allergic to something unique to that city. Getting accustomed to rolling with the variables is something I am still learning after four tours.

I NEVER FORGET TO PACK: I always have my yoga mat, my journal, my MyPurMist, my giant bag of vitamins, and one of my coffee mugs from home. Being an avid coffee drinker, I find so much joy in sipping my coffee from a familiar vessel. I also love having my essential oil diffuser and some of my crystals with me. Really, anything that gives me a sense of familiarity and grounding amidst the ever-shifting, yet overwhelmingly humbling and rewarding lifestyle that is touring!

Tips From the Road: Kersten Gavin

Kersten Gavin

CURRENT JOB: Crew Swing for Wardrobe/Hair and Make-up Departments, The Lion King North American Tour

PREVIOUS TOURS: A Bronx Tale – The Musical Finding Neverland – The Musical

DEGREES: Bachelor of Fine Arts, Costume Design & Technology,University of North Georgia, 2015 Master of Fine Arts, Wig and Makeup Design,Cincinnati Conservatory of Music, in progress

PRO SKILLS I HAVE DEVELOPED: I wouldn’t say that I am a pro at touring yet. I’m still trying to figure out how to balance my life out here. I am amazing at packing my suitcases, never going over the weight limit. Going through airport security is such a breeze now. I can say I am a better listener because of touring. Observing those around you and being self-aware are two pro skills that I have developed.Working with new people in every city, having the job of training them in how to run my show – that is a skill I have developed, but am still trying to not mess up every day.

BIGGEST CHALLENGES: I live out of suitcases. I live in hotels. I travel by bus or plane every few weeks, or weekly or sometimes every few days. That is my biggest challenge.

I NEVER FORGET TO PACK: My Roku Stick – got to watch that Netflix. My hand luggage scale – never want to be over my weight limit.My box of letters to write – I sit down and write letters to my family and friends as much as I can. Pack things that will make your life easier and bring you a little extra joy on the road.

REGIONAL AND EDUCATIONAL TOURS

Major national tours aren’t the only way to take your show on the road. There are numerous smaller regional touring companies and educational tours that send out productions annually. The structure and contracting process for these tours can vary widely, depending on the company. Many productions travel only within a state or limited region. Some may use vans instead of buses, traveling out to a venue for a performance before returning to a “home base.”

These tours are often mission-driven, aiming to reach out to underserved communities or schools. Because of this, these kinds of tours often require actors and technicians to possess skills beyond pure talent. Dylan Wright, the tour communications associate for Missoula Children’s Theatre, the largest international touring children’s theatre in the nation, notes that his theatre hires a particular type of person: “We are looking for high-energy performers that are strong singers but, most importantly, kind and patient individuals that want to make a difference and enjoy working with children.”

These companies are especially reliant on their touring members to maintain the production quality and the theatre’s public image, Wright said. “Because we are not on the road with them, we put a lot of faith in our actor/directors to create high-quality productions while upholding the values of the company,” he said. “Each team is essentially its own production company while out on the road. Because of this, candidates must be thoroughly vetted before being offered any touring contract.”

Cordell Cole, currently appearing as Witch/ Macduff in Macbeth for the Utah Shakespeare Festival Shakespeare-in-the-Schools Tour, appreciates the opportunity tours provide for him to see places he might not visit otherwise. “This year alone, I’ve been able to see the Grand Canyon, walk the streets of Vegas, view rock formations the likes of which I’ve never witnessed, hike down trails occupied by the ruins of Native American shelters, and stand among four states at one time, just for starters,” Cole said. “That’s all thanks to tour.”

He also enjoys the opportunity that his touring work provides for him to connect the audience to major works. “One of my favorite parts of this job has been and remains that the work truly is bigger than us,” Cole said. “I feel so lucky every time I’m allowed to tell these stories.”

Sometimes, as the only African American on his tour, it “can feel lonely, but I know my purpose is for a greater cause,” he said. “After a show one day, during a talk-back, I kept catching eyes with a black student, probably between 16 and 18. Every single time, he smiled, like, ‘I see you brother.’ I wish I could more eloquently explain it. It wasn’t like any audience post-show interaction I’d ever had. He just wanted to be present with me for a moment. Eventually, he got up, sending me the ‘Wakanda forever’ sign. I obliged him, sending it back. Then he went on his way. Another young black man once said he saw himself when seeing me.”

Tips From the Road: Cordell Cole

Cordell Cole

CURRENT ROLE: Witch/Macduff, Macbeth Utah Shakespeare Festival Shakespeare-in-the-Schools Tour

PREVIOUS TOURS: Two year-long tours with American Shakespeare Center

DEGREES: Bachelor of Fine Arts, Acting Brenau University, expected 2019

PRO SKILLS I HAVE DEVELOPED: I think the art of discernment is crucial. Arriving at every venue,there are always a ton of questions and answers that will either need to be confirmed, asked or worked out. It’s in those moments that this skill is especially necessary. I hope I’ve gotten very good at asking myself those three classic questions:Does what I have to say need to be said? Does it need to be said right now? Does it need to be said right now, by me? I find myself most successful, discernment-wise, when asking those,especially in load-ins and load-outs.

BIGGEST CHALLENGES: On this tour, life is fluid. One day, our call may be 5 o’clock in the morning. The next day, perhaps it’s 11 in the morning. That can take just a bit to get used to.

I NEVER FORGET TO PACK: Phone charger, hair brush, toothbrush and toothpaste, and so many pairs of undergarments/socks for when laundry seems impossible to do. I also keep souvenir stickers from every memorable place I’ve been. Someday I’ll find a place to put them all. It’s amazing how much being able to bring along those little things that make the road feel like home will help. Having the option to pack a bag for comics, pictures and as many pairs of shoes or socks as I want feels good for the soul.

CRUISIN’ FOR A LIVING

Perhaps, instead of traveling cross-country on airplanes or buses, you prefer a life on the open seas. The cruise industry is continually growing, with new ships continuously on order and shipyards that cannot keep up with the demands for new or upgraded vessels, according to the Cruise Lines International Association, an industry trade association. These ships fill with thousands of passengers eager to enjoy their vacations and pass the sailing hours being entertained. The cruise ship performing industry has evolved from the cheesy talent shows and solo performers of yesteryear to major Broadway-level musicals and Vegas-style reviews, opening up a world of job opportunities to actors and technicians willing to test out their sea legs.

Nicole Pietrangelo, who recently completed a six-month tour as a vocalist with Norwegian Cruise Line, said one of the highlights of touring for her was the lasting connections she made with her fellow performers.

“I was lucky enough to meet some incredible people from all over the world who quickly became my support system during those six months on board,” she said. “I seriously would not have made it to the other side without them, and I know these people will be friends for life. Befriending these people was without a doubt the most rewarding aspect for me.”

Like those who tour on land, Pietrangelo also relished the opportunity her cruise job opened for her to see new places.

“The highlight for me was exploring Havana, Cuba,” she said. “It truly is so beautiful there, the people are lovely, and the food is fantastic.”

Many cruise ship productions rehearse in Florida, as opposed to touring productions that start in New York City. The major cruise lines are Norwegian, Carnival, Royal Caribbean, Disney, Princess and Holland America. Standard contracts run from four to nine months. Upcoming opportunities can be found through each company’s website or postings on the Playbill or Backstage online job boards. Auditions and interviews are held at various locations year-round, including the SETC Professional Auditions and the SETC Theatre Job Fair.

When looking for work on a cruise ship, be sure to familiarize yourself with the individual cruise line, paying particular attention to its history, hiring requirements (e.g., age), typical room and board, and employee experiences. Although some principal performers may only be expected to perform, other members of the production team may be required to handle minor additional ship duties, such as cleaning the theatre, teaching workshops or running passenger safety drills.

Tips From the Sea: Nicole Pietrangelo

Nicole Pietrangelo

RECENT CRUISE JOB: Vocalist, Rock You Tonight and Showdown, Norwegian Cruise Line, 6-month tour, 2018

OTHER CRUISE JOBS: None. Has worked in regional theatre and Off- Broadway productions.

DEGREES: Bachelor of Music in Vocal Performance, University of Alabama, 2014 2-Year Professional Musical Theatre Training Program, CAP21, 2016

PRO SKILLS I HAVE DEVELOPED: Learn the value of a proper warm-up! And I’ve figured out what specific exercises work best for me. On the ship, we were belting our faces off every single day, and it would undoubtedly get tiring after a while. I definitely would not have made it through without a good warm-up to get me on the right track every day. I wish someone had told me to make sure I was pacing myself throughout the course of the contract. There are times when it is okay to mark [spare the voice during rehearsal] and not tire yourself out. Be smart about when those times are. You don’t have to feel like you constantly have to prove yourself. In the end, the most important thing is to do what’s best for you and your health.

BIGGEST CHALLENGES: The biggest challenge is maintaining contact with your family, friends and significant other. On a cruise ship, there is no such thing as consistent Wi-Fi. Sometimes you have it, and sometimes you don’t. You really do feel disconnected to the outside world at times, which is why it’s so important to find your “ship family.”

I NEVER FORGET TO PACK: Makeup wipes. Nonperishable snacks. A Polaroid camera for decorations. I hung up countless pictures, bought blankets and pillows to make my bed more comfy, hung twinkle lights, etc. You have to make your space cozy, or it’ll never feel like home. Sunscreen, especially with my Caribbean itinerary. We were in the sun constantly, and we weren’t allowed to have any visible tan lines in our shows.

CASTING DIRECTORS SHARE ADVICE

Touring is very different from performing a show in a theatre. You will be with the same small group of players, traveling for long stretches of time, away from your typical comforts, and often under pressure and in very close quarters. Because of those challenges, casting directors pay particular attention to how well their auditionees “play” with others.

“We are not just casting performers, we are casting people,” said Katie Proctor, a casting director at RWS Entertainment Group, whose clients include major cruise lines and theme parks. Because these individuals must not only work together but also in close quarters, “If someone comes across as difficult to work with [in the casting room], it’s tough for me to give a callback, no matter how talented they are.”

Similarly, Gordon Bass, tour manager for Virginia Rep on Tour, Virginia Repertory Theatre’s touring company for young audiences which presents more than 2,000 performances of children’s classics each year, said his company looks for “honest, true, kind, friendly folk” and “no-divas … no B.S.” Some of the biggest frustrations for tour performers, Bass said, are simple things such as getting along in the confines of long van rides and reaching agreement on places to eat on the road.

Nebraska Theatre Caravan finds that it helps to prepare their casts and crews for the challenges of tour life before they set off. “We take time to train the company to work longer than usual hours and [let them know that] they have the most pressure to put on their best performance after sitting through long bus rides, early calls, media appearances in each city, and hectic schedules,” Whitecotton said.

Performers in touring and cruise ship productions also face personal challenges. “You have to find ways of keeping a show and character fresh, not to mention keeping your own mind-set clear and focused and happy,” Styres said.

Proctor notes that mental self-care is critical for touring artists: “The performers who are most successful living on the road are those who can find their own inner calm as well as finding something to work on while traveling – a hobby, craft, personal goal, etc.”

In addition to dealing with mental wellness, those travelling the road or the sea also need to pay extra attention to their health and physical care to cope with changing climates, high-bacteria travel centers, different food options, new time zones and general exhaustion. Being prepared is critical, Proctor said.

“Don’t forget to get enough sleep,” advises Proctor. “Find a way to get in a workout. Treat yourself to some really good food. Taking care of yourself will go a long way in keeping up your performances every day and will help you to enjoy your life on the road (or sea)!”

One of the most important steps touring professionals can take, Styres said, is to focus on enjoying the act of touring. “From my perspective, most of my tour casts have a really great sense of understanding that this is also a great opportunity to see places they may never have visited, getting to meet new people along the way. It is easy to get lost in homesickness if you aren’t appreciating your current surroundings.”

If you are interested in entering the world of touring and cruise ship productions, consider all details before signing a contract, recommends Styres: “Look at the dates. Look at the itinerary. Look at who you are auditioning for. Know the parameters of what you’re getting into.”

BOTTOM LINE

Before you sublet your apartment and invest in a new suitcase, make sure touring is a good fit for you as a person and a performer.

“Have an honest talk with yourself before heading in that direction,” Proctor said. “Personally, I think there is nothing better than working and living on the road or sea, but it’s certainly not for everyone.”

Stefanie Maiya Lehmann is business manager of Lincoln Center Concert Halls and Production in New York City and a member of the Southern Theatre Editorial Board.