a week (regional theater)
Midlevel: $4,500-$6,000/production (regional)
Executive: $25,000 + weekly royalties from $900-$1,500 for a multi-set, long-running Broadway production.
National Association of Schools of Theater
11250 Roger Bacon Dr., Suite 21
Reston, VA 20190
Opportunities are growing rapidly for choreographers due to the explosion of hip-hop, pop and dance music acts, whose stage shows use several dancers. The trend to use dancers has caught on in commercials and music videos as well. But the highly competitive nature of this business makes it difficult to get into. Aspiring choreographers often work for free as dancers in the hopes of securing a desirable gig they can choreograph. Working as dance teachers or dance coaches to pay the bills in between jobs is not uncommon. Talent, excellent networking skills and a willingness to work long hours are a necessity.
There is no degree or formal training required to be a choreographer. However, the more diverse your knowledge of dance, the better. A résumé which includes
classes taken or training under a reputable dance instructor will suffice. Most positions are nonunion (i.e., tours, music videos). To work in TV or film, however, requires that you be a member of the Screen Actors Guild (SAG) or the American Federation of Television and Radio Artists (AFTRA).
Entry level: $100 (without an agent) to $500 per day
Midlevel: $750-$1,200 per day
Executive: $1,500-$2,500 per day
Stage Directors and Choreographer’s Foundation
1501 Broadway, Suite 1701
New York NY 10036
ALLEN LEE HUGHES | Lighting Designer
Thespians and playwrights aren’t the sole conveyors of mood in the theater. Just ask Allen Lee Hughes, 49, lighting designer for ballets, operas and Broadway plays such as Mule Bone, K2 and Once on This Island, which earned him his third Tony Award nomination.
After obtaining a bachelor’s degree in liberal arts from Catholic University in Washington, D.C., Hughes pursued his interest in theater by working in production jobs in small theaters. He decided he enjoyed creating concepts through lighting and obtained a master’s in fine arts at New York University. After that, networking with other theater professionals familiar with his work “led from one job to another,” says Hughes.
“There is a fair amount of technical know-how needed in this profession. Some things I learned in school, but I am still learning because it changes daily.”
In the visually driven world of television, music videos and film, much emphasis is placed on an entertainer’s “look.” And there’s no one more influential in determining that look than a makeup artist. Overall employment in the field of cosmetology is expected to grow by just under 10% by 2006.
Whether the desired look is high fashion or a ghoulish mask, makeup artists assist an actor or performer in creating his overall character through cosmetics. They work not only with their subject, but consult a project’s director, photographer/cinematographer, writer and/or lighting designer to achieve the desired effect.
Although no formal certificate is required, evidence of some training from a beauty school or an apprenticeship with an experienced artist is desirable in compiling a resume and portfolio to showcase your skills.
Video productions and concert tours generally use