While any professional performance career is at times a circus, only a few AFM members can claim that is literally true. Touring nearly year-round with one of three Ringling Bros. and Barnum & Bailey (RBBB) circuses—the Red, Blue, and Gold units—makes for a uniquely strange and wonderful musical career.

On tour since January 2004, and featuring a band of six, the RBBB circus’s Gold unit gave its final performance October 25. Working under an agreement between the AFM and Feld Entertainment, this production operated as a “truck and trailer” show that played smaller, more rural markets. The standard model for housing and transportation used on the Red and Blue units—the circus train—was not an option for the Gold unit. A carefully negotiated policy allowed musicians to travel in company-funded RVs, which served as both their transportation and lodging. In addition to many travels across the US and Canada, the Gold unit was the only RBBB production to travel to Puerto Rico and Europe.

Keyboardist Oliver Townsend poses with the circus elephants.

Musicians Robbie Redding of Local 546 (Knoxville, TN), Matthew Cross of Local 111 (Canton, OH); Daniel Glynn of Local 374 (Concord, NH), Jeremy Papay of 60-471 (Pittsburgh, PA), Gabriel Romero Jr. of Local 433 (Austin, TX), and Oliver Townsend of Local 10-208 (Chicago, IL), shared some of their experiences traveling with the Gold unit.

Conductor and saxophonist Robbie Redding left college to take a full-time saxophone position with RBBB in 1995. After playing in a couple different circus bands, he was asked to be conductor of the brand new RBBB Gold unit.

“Everything about the Gold unit is unique—the housing, the cities played, the performance schedule, the family atmosphere, and the historic moments we created for Feld Entertainment,” says Redding. “When you’ve been a part of something new and unique from the beginning, there isn’t much you won’t miss.”

“Live music is the heartbeat for a circus performance. It fuels circus artists to perform better, and vice versa,” he explains. “I’ve often described Ringling employment for the musician as a ‘blue collar’ music job. The book stays relatively the same—there is very little room for creativity.”

Free time can be a killer, he says of touring life. For that reason, the musicians take on other projects, including two successful side bands (Jack’s Shadow and Greybag) that they booked to play gigs in cities where the circus performed.

Redding says the RV housing scenario was both an Achilles’ heal and a godsend. “It made it difficult to find musicians willing to take the job. On the other hand, those that embraced the idea know there is no other way to tour,” he says. In 12 years, he’d had to replace less than 10 musicians in the six-piece, full-time, touring band.

Keyboardist Matthew Cross had retired from circus life, but returned for the last two months of the Gold unit tour to replace a keyboardist who left. He had performed with six different circuses from 1979 to 2014. “What an adventure! I wouldn’t have traded it for anything in the world,” he says.

The RBBB Gold unit circus band watches circus performers carefully to “catch tricks.”

Daniel Glynn, played electric bass for the show for about five years, after he stumbled across a Ringling Bros. audition call. “I think as soon as I stepped into the tent, saw my first elephant, and met all the band guys, I was in it for the long haul,” he says. “The idea of living in a movable community on the road was appealing.”

“I am going to miss the overall ‘circus life’—countless nights spent sitting outside someone’s RV telling and retelling circus stories, and the cast of characters from so many different countries and cultures,’” says Glynn.

He says that the circus performers kept them on their toes, “Each section of music was specifically written to enhance the actions of performers. It’s an ebb and flow relationship. Jeremy Papay, our drummer, and Matt Cross, our keys one player, are amazing at ‘catching tricks,’ which highlight the movements and actions of performers.”

Though Glynn says he won’t miss breakdowns in the middle of nowhere, he did enjoy having his own space. Plus his rolling home allowed him to bring additional instruments and recording equipment.

When drummer Jeremy Papay was first asked to audition for the circus band he thought it was a joke. “I had a couple weeks to learn the show, buy an RV and truck, learn how to hitch and unhitch the thing, and hit the road to meet up with the show in Prescott Valley, Arizona (leaving from Pittsburgh).

“Live music is everything, especially in the circus,” he exclaims. “Circus musicians are no joke. I have learned a lot from these fine gentlemen. Canned music is unable to smoothly and seamlessly stop on a dime and transition when acts miss a trick, decide to cut a trick, or add one, two, three, or four.”

“As a circus drummer, I was responsible for ‘trick catching’—accenting the action in the ring with little fills and flourishes. In addition, I was responsible for triggering an absolutely insane number of loops via the [Roland] SPD-SX [sampling pad]. It was a challenge to keep my eyes on the ring, watch the conductor for cues, keep the tempo steady, and keep an eye on the SPD-SX.”

Though having an RV was a perk, it was at times grueling. “Anything under 500 miles feels like a vacation drive after crunching some of those Gold jumps—500 to 1,500 miles plus. Playing drums was only part of the gig!” he says. Hazards of RV life included blown tires, tornado and hurricane warnings, sub-zero freezes, record breaking heat, and floods.

Gabriel Romero Jr. has worked as keyboardist, synth programmer, and assistant conductor for all three RBBB circus units. “The Gold has always been a tighter-knit community; definitely a second family to me. I will miss it dearly,” he says.

“In a live show, especially a live show with animal acts, it is very important that the music fit the act,” he says. “It is rare that an act is the same every time. A live band helps make any last-minute changes or mishaps on the floor appear intentional and seamless.”
Traveling by RV gave him the opportunity to have a studio on wheels. “That’s something I couldn’t do on a train. We were able to record a full-length album, strictly in our RVs,” he says.

Keyboardist Oliver Townsend was the newest band member, having joined June 2014. He chose hotel life, rather than travel by RV. “I’ve always enjoyed touring with theatre shows,” he explains. “So it seemed like a fun alternative to that. It was an almost identical lifestyle for me, but with a totally different work environment!” He says the players shared a unique bond.

Townsend will miss the people and the work schedule the most. “You can’t really beat the paycheck/work ration—union wages for three to four days of work per week,” he says, admitting, however, that he won’t miss three-show Saturdays and some of the rundown arenas.
Band members hope they’ll be able to keep the sideband Greybag (greybagmusic.com) going in some capacity. The music for its first album, Never Meant to Stay, was recorded in their RVs.

The AFM works hard with its partners in the National Musical Instrument Carry-On and Ivory coalitions to make air travel easier for you and safer for your instrument. New rules and more specific guidelines negotiated over the past few years with the airlines, US Department of Transportation (DOT), US Fish and Wildlife Service, Customs, and other agencies have made vast improvements and reduced unexpected surprises when traveling by air. Safe instrument travel begins with careful planning long before you board the plane. Here are some tips to make flying with your instrument more carefree.

Before You Buy Your Ticket

1. Insure your instrument. An airline will not cover replacement cost for your valuable instrument if it is damaged, lost, or stolen. Airline liability limits are about $3,500 per passenger on domestic flights and less on international trips.
2. Know the size/weight of your instrument in regards to regulations. Airlines must accommodate musical instruments as carry-on items as long as there is room available in the overhead bin or under-seat area at the time of boarding, and the instrument is in a case. Typically, airlines allow you to check musical instruments as baggage as long as: the sum of the length, width, and height of the exterior case dimensions does not exceed 150 linear inches and the weight does not exceed 165 pounds (this can change if flying smaller regional aircraft). Larger instruments may be allowed, but subjected to “oversize” fees. Always request to have your checked instrument stowed in the climate controlled storage area where pets travel.
3. Notify the airline that you will be flying with a musical instrument. Have your case dimensions handy. Inquire about the size of the aircraft that will likely be used and how that might limit your ability to fly with an instrument in cabin or in the cargo hold.
4. Remove all extraneous items from the case before leaving home. Any sharp objects or liquids larger than three ounces should be packed in checked baggage or left at home.
5. Extra padding. Consider installing additional foam or using bubble wrap in your case for extra protection.
6. Print a copy of the airline’s specific policies regarding
   instruments. You can find many airline policies listed at http://
   airlines.org/blog/instrument-rated-air-travel-for-musicians/.
7. Consider early boarding options. Depending on individual airline policies, paying extra for early boarding or requesting a seat assignment at the back of the plane may provide more time to stow your instrument, and more space options.
8. Limit the number of carry-on items. Most airlines permit one carry-on bag and one personal item. Your instrument will be one of those items.
9. If traveling internationally, consider whether your instrument may be subject to the US Fish & Wildlife Service bans on import/export. Some musical instruments contain parts or products of species protected under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) and/or the Endangered Species Act (ESA), such as African ivory or certain woods. If you think your instrument may fall into this category, you may want/need to obtain a US Fish and Wildlife Service (USFWS) traveling permit for your musical instrument well in advance of your travel date. For more information visit: http://www.fws.gov/international/permits/by-activity/musical-instruments.html.

For more tips on traveling with your instrument, download the Guide to Flying with Musical Instruments PDF at: www.afm.org/departments/legislative-office/instruments-as-carry-on.

At the Airport

1. Be prepared to open your case for inspection. For checked instruments, offer to open the case for TSA or customs officials so you can ensure it is properly stowed following examination.
2. Board as soon as you are called. Airline overhead space is on a first come, first serve basis. Once your instrument is safely stowed in the overhead it cannot be removed or replaced by other bags.
3. Deal calmly with problems. Move out of the way of other boarding passengers, then show the gate agent a copy of the federal rules (http://www.gpo.gov/fdsys/pkg/FR-2015-01-05/pdf/2014-30836.pdf) and quickly and calmly state your understanding as they apply to your situation. Explain the precautions you have taken to travel with your instrument. Don’t take it personally if a gate agent or a flight crew member seems indifferent to your concerns. Their time is limited. In many cases, the problem may be resolved easily.
4. Have a backup plan. Be prepared in the event that you are not allowed to travel with your instrument in the cabin. Do you have a sturdy travel case? Are you prepared to check your instrument? Don’t forget to insist that the instrument be stowed in the temperature-controlled section of the cargo hold.
5. Inspect your instrument upon arrival. Carefully examine your instrument for any sign of damage. Report any problems to the airline baggage office before leaving the airport.

If you experience problems that are counter to an airline’s posted policies you are encouraged to file a complaint “first” with the airline (www.tranportation.gov/airconsumer/airline-consumer-contacts). If the airline’s response is still contrary to its posted policy, write a compliant to the US Department of Transportation (www.transportation.gov/airconsumer/file-consumer-complaint). The DOT monitors complaints for patterns or egregious cases that warrant actions to hold airlines to laws and regulations.
For more tips on traveling with your instrument, download the Guide to Flying with Musical Instruments
PDF at: www.afm.org/departments/legislative-office/instruments-as-carry-on.

by Walter Usiatynski, TMA Vice President, Broadway Theatre Committee Chair, and a member of Local 802 (New York City)

The Theatre Musicians Association (TMA) is similar to the Broadway Theatre Committee in many ways. TMA is duly recognized by the AFM; the Theatre Committee is duly recognized by Local 802 (New York City). TMA represents theatre musicians around the country; the Theatre Committee represents theatre musicians in New York City.  I have the honor and privilege of serving with both.

I’ve served on the Theatre Committee since 2008, first as co-chair (with AFM International Executive Board member Tino Gagliardi as chair), then as its chair in 2010. At Gagliardi’s urging, I joined TMA later that year as the Broadway director. Broadway director is a liaison position—a link between what happens on Broadway and TMA. As director I discovered that, not only do happenings on Broadway affect the rest of the country, but things that happen around the country affect Broadway, such as downsizing of the pit orchestras. Because of this link, communication between TMA and the Broadway community is essential.

On Broadway, producers say that this is their best year ever. (They’ve been saying this for several years now.) We’ve seen many shows with large orchestrations, such as On the Town, The King and I, South Pacific, and American in Paris. These shows are well received by audiences and critics. But there are other shows that request smaller than the minimum chairs, and shows that return for a second or third run with smaller orchestrations than the original run, such as Les Misérables and Spring Awakening.

TMA, with help of the AFM, tracks the size of orchestras in touring Broadway shows. Reduced orchestrations are as much of a problem on the road as they are on Broadway. Both the Pamphlet B and Broadway CBAs are agreements with the Broadway League of Theatre Owners and Producers, and both expire next March.

The AFM Pamphlet B Touring Agreement covers musicians traveling with theatrical productions in the US and Canada. When it was last negotiated in 2012, substantial improvements were made. Elimination of the “tier” structure put more money in the pockets of musicians. There were also improvements in health contributions, vacation pay, doubling, sound check and rehearsal pay, as well as annual wage increases. The AFM replaced the tiers with the Short Engagement Tour (SET) Agreement. For smaller, shorter-stay productions, it gives the League relief from full Pamphlet B rates, without putting musicians in the poor house.

The Broadway Agreement was last negotiated in 2011. It gave annual wage increases, but no improvements were made in other areas. We hope for successful agreements with both contracts.

There is good communication between TMA and Broadway, and the level of communication within TMA is strong. TMA is made up of local and touring musicians. Our executive board holds regular meetings to hear from our chapters, committees, and members. We can find out if a concern with a production is an isolated event or is occurring from city to city. If necessary, we can contact the AFM Touring and Travel Division, as we have a strong relationship with them.

Information about tours and tour itineraries is shared with members on the TMA website (www.afm-tma.org). Touring musicians can see where their show is going, and local musicians can see what shows are coming in and when. We are on Facebook. Along with our regular Facebook page, there is a TMA Traveller’s Forum page for musicians to share comments on restaurants, lodging, and anything else that may be of interest on the road. We send out frequent bulletins and email blasts to keep members informed and updated about current events.

We are constantly on the lookout for virtual orchestras, prerecorded tracks, or loops in productions. We are greatly concerned with reduced orchestrations and the effect that they have on production quality and musician health. Smaller orchestras mean more blowing, less sectional support and the combining of parts, all of which equals more work for musicians, and more profit for the show.

A recent call to action concerns Boston’s Colonial Theatre, which may be turned into a dining hall/student center by its owner, Emerson College. The Colonial is the oldest continually-operating theatre in Boston, and is home to many touring productions. TMA is distributing a petition to keep this beautiful cultural resource alive so it does not become a line item on the college’s accounting sheet.

TMA is a voluntary organization. It depends on recurring membership dues. I can’t predict what the Pamphlet B negotiations will be like next spring, but I can say that TMA will be there, working with the AFM, representing working musicians to try to achieve the best deal possible. We are talking to members and have put together a Pamphlet B committee to explore areas of concern. Whether you are a touring or local theatrical musician, you will benefit by joining TMA. Our modest dues can be paid through our website. If you are a current member, we hope you continue your membership so that TMA can keep fighting the good fight.

by Michael Manley, Director AFM Touring/Theatre/Booking and Immigration Division and Assistant to the President

Whether you are a concertmaster of a symphony orchestra, a touring musical theatre conductor, or a first-call studio trumpet player, you may enjoy the opportunity to negotiate wages or other “perks” that are above and beyond union scale minimum terms and conditions. Here’s a quick guide to ensuring your overscale deal works for you, not against you.

Fixed Versus Variable Overscale

The most straightforward overscale deal comes with no strings, and is simply a fixed additional amount paid on top of the minimum wages. It is inclusive of no other potential fees. In this model, an in-demand drummer paid $100 more than the minimum performance scale, or a star cellist commanding double scale on a recording date, are each paid above scale solely for their exceptional artistry. If there are other incidental payments, for example, if a performance goes overtime, these are paid in addition to the negotiated overscale amount. This “fixed” model is clean and straightforward, and therefore the most ideal.

However, some overscale deals are variable. In these overscale deals, the overscale is structured to build in certain incidental fees or work that may occur. For example, it is common for a touring theatre conductor’s overscale to include some rehearsal hours. Additional unplanned-for expenses may also be built into the overscale, such as possible travel penalties, or the overtime referenced above. In this case, employees are being paid their contractual minimums for all services, including these incidental penalties and fees, but the overscale amount is effectively being reduced to cover the cost of these events. For example, if a lead trumpet player is making $200 per week in overscale, and there are overtime penalties that total $45 in that same week, then our lead trumpet player’s overscale would be $155 for this week, in this variable overscale model. These variable overscale deals are not prohibited, so long as the employee is never being paid less than the minimum terms and conditions guaranteed by the contract.

Variable Overscale: Defining
What Is—and Isn’t—Included

While building in certain tasks or fees can give a musician more leverage in negotiating an overscale arrangement, it is crucial to clearly define what is included—and what is not. As stated, the variable overscale deal cannot be structured in a way that results in less than the minimum union terms and conditions. Can a weekly overscale cover a few hours of rehearsal per week, if needed? Yes, assuming the overscale amount is equal to or more than what the contractual rehearsal hours would be. Can an overscale cover “any and all” rehearsals needed? Absolutely not—it might result in the musician being paid less than what the contract minimums require. For example, if the overscale is equal to or more that the cost of five rehearsal hours per week, an employer may ask for “up to five hours of rehearsal per week” in negotiating the variable overscale. But the employer may not ask for “up to six hours of rehearsal per week” in this same case, since the payments due for the rehearsal hours total more than the overscale amount.

Excluded from Overscale

Neither the musician nor the employer may agree to an overscale framework that violates a collective bargaining agreement, or local union scales and conditions. For example, an employer may not pay an overscale amount in lieu of a contract’s health and welfare or pension payment. Also, an employer may not include potential revenue from other work or contract sources. For example, performance overscale may not cover payments that are due for separate media work, such as recordings, commercials, or digitally streamed or downloaded content. These examples all fall under the jurisdiction of AFM media contracts, and are therefore treated as separate employment events.

The AFM’s Short Engagement Touring Musicals Agreement contains a revenue-sharing component, called “overage,” which is tied to some theatrical overscale deals. The same rules apply—overscale amounts cannot replace a weekly overage due, but overage can—with care and scrutiny—be part of a variable overscale deal. It is best to contact the AFM Touring, Theatre, Booking and Immigration Division directly if overage is being considered in an overscale deal.

The best course is to be as specific as possible when including anything in the overscale deal. “Up to and including  ___ rehearsal hours” is preferable to “any and all rehearsals” or “rehearsals, as needed,” phrases which are open-ended and unquantifiable.

Overscale “Do’s”

• Prefer a fixed overscale amount to a variable one, if possible. It is the simplest structure, and easy to keep track of.
• In variable overscale deals, clearly define the parameters of what is potentially covered. A phrase like “up to __ hours” are clear and limited, while a phrase like “any and all” is a deal-breaker—it contains no limitations.
• Overscale should always be defined per pay period, and each overscale payment applies only to the events of that pay period. Overscale paid last week cannot cover overtime fees or travel penalties that occurred this week.
• Make sure the overscale deal does not violate the contract, or attempt to fold in payments, such as media payments, due under other AFM Agreements.

When in doubt, call the union—we are here to help! Also, remember to send a copy of your personal services contract to the appropriate national or local union representative.