Working Conditions & Hiring Practices
Creation of BIPOC Affinity Spaces
We demand safe and exclusive affinity spaces for the protection of BIPOC bodies inside of all institutions.
Already Doing
- We have created an affinity space for BIPOC staff and artists in residence with regular meetings.
More Discussion Needed
- Once we are no longer virtual, look at ways in which we can increase participation in this group. Should it stay virtual or with a virtual option?
Accountability to Anti-Racism
We demand accountability to anti-racism.
Anti-racism policies must be publicized within 6 months from the release of these demands.
Institute anti-racism statements that must be read at all first rehearsals, board meetings and quarterly staff meetings to continue to hold theatres accountable. How can you say you are an anti-racist theatre when you are in an all-white room?
Already Doing
We are doing the work with our groups; our budget line items our hiring Wayfinding.
Anti- Racism Statement read at every first rehearsal (with land acknowledgement).
More Discussion Needed
- 6 months isn't a reasonable timeline for viable, lasting policy and structural changes for the organization. Do we want to set a specific time goal for an opening statement to the community/public? Do we want to release a statement at all? We need to decide now if we want a response ready should WSYWAT calls Signature out specifically? Does this expand to the audience and how? Do we say we are an anti-racist theater at every show so that we are over time educating our audiences as well?
SUB-COMMITTEE Recommendation
- A statement should be read at all staff and board meetings, in addition to first rehearsals, recognizing marginalized groups and our commitment to breaking down barriers and recognizing the work of these people. Figure out how to make sure this doesn't become something that is rote and loses its impact. Responsibility for reading this statement does not fall to the same person every time. It is not always the "leader" most powerful person in a room.
Creation of BIPOC Work Environments
We demand humane and nurturing work environments specifically attuned to BIPOC artists’ needs.
Designers, choreographers, fight and intimacy directors and their associates and assistants (as they become hired) should be fully disclosed when offers are made to ensure a full awareness of who will be in the room so that we can avoid subjecting ourselves to working with potentially harmful collaborators.
Allow proficient and accessible walk-throughs of inventory and spatial configurations every time a BIPOC designer is hired -- especially as many are only hired once a year.
Eliminate 10 out of 12s and eliminate the 6-day rehearsal week. These are long-standing practices that are seeped in capitalist and white supremacist culture. When these practices are in place, the growing and nurturing of the BIPOC family structure is imperiled. Many BIPOC artists have been forced to make a choice not to have families. For Indigenous artists and other peoples recovering from genocide, these practices are extremely detrimental.
Allocate more time to create work. Do not force us to produce in a way that is antithetical to the artistic process, leading to the hiring of the same people over and over again, such as those who have developed a "shorthand" with the director and/or choreographer. It is the product of an authoritarian structure that silences the agency of BIPOC collaborators to voice concerns that are being glossed over for the sake of expediency. Creating one structure for every project does not allow for the specific exigencies that each project needs and taxes artists needlessly, creating a potentially hazardous and less humane work environment.
Implement the mandatory hiring of EDI professionals.
Create mandatory EDI committees on the organizational level.
Require that employees have mandatory involvement on EDI committees.
Assign a dedicated EDI officer for each production.
Implement mandatory estate and financial planning for all employees.
Already Doing
- re: seeing the space/walkthrough - we are already bringing in designers for walkthroughs as a standard practice.
More Discussion Needed
- This crosses HR, union/contract, and legal issues. How responsible are we for a person's past behavior not at Signature? And if whatever policy you create, how does it not punish the person who has the issue rather than the person they are saying they have concerns about? For instance, if an actor asks for a creative team/cast list and comes to Signature with an issue about a particular person and then doesn't take the job because they don't feel comfortable working with that person - that would have the opposite effect of what we want.
SUB-COMMITTEE Recommendation
Do more due diligence character/background check on people we are hiring we don't know well - what has been their working style in the past, is there problematic behavior. Make sure this doesn't cross the line if doing a traditional "background check" - into having the OPPOSITE effect of hiring people of color, since people of color are much more likely to be accused of/convicted unfairly in the justice system.
Committee recommends replacing the 6-day workweek for rehearsals to a 5 day work week for rehearsals, and eliminating “10 out of 12's” during tech. Perhaps do that as a trial period at first to see what effect this actually has? ALSO, other theaters in the DC area are said to have already committed to doing this, if that follows through, we might just need to go along as we would no longer be competitive as an employer. This change comes with big questions - Will the time be made up or will artists be expected to make the same product in less time? If it means more weeks of rehearsal/tech, what are the budgetary implications? We recognize that this comes with seismic budgetary and scheduling implications and understand that this will likely take time. Committee asks we do not take this off the table right away for budgetary reasons (even if it will take several years to role out).
Ending Oppressive Hiring Practices
We demand an immediate end to oppressive hiring practices.
All executive leadership hires and structural leadership changes must occur through an equitable and transparent process.
Diversify search firms and finalist pools for executive leadership positions.
All executive search firms must have BIPOC consultants leading searches. We demand the severing of all ties with predominantly white search firms.
Commit to a truly diverse pool of BIPOC candidates for leadership of your theatres.
Build relationships with and hire BIPOC artists from your local area.
Stop using one less-than-positive experience with a BIPOC artist as an excuse not to engage other BIPOC artists.
Build a BIPOC production staff.
Production job descriptions must use language that is free of unconscious bias, such as “years of experience” requirements for production staff.
Production job descriptions must not have education requirements, which, by implying that coming from a certain degree or institution you are somehow more qualified than someone else, create a barrier to the hiring of BIPOC production staff.
Cease using the term “most favored nations” when also using contract riders that undermine the equality of the pay structure.
Eliminate the use of the Rooney Rule in your hiring practices; it is imbued with racist ideas. It has never been acceptable to have one candidate of color amongst four or five white candidates. Bringing in a single, tokenized candidate for consideration amidst an otherwise all white field of candidates has consistently failed to institute equity or diversity across the field. It hasn’t even succeeded in greater representation. Instead, take a closer look at hiring practices, the wording of job descriptions and bias as to where the candidate last worked and with whom.
We demand that BIPOC candidates comprise the majority of the final candidate pool for all positions so that candidate pools accurately reflect the standing excellence of BIPOC workers.
We demand that you stop replacing us or clumping us with white women and white LGBTQ+. While we recognize their struggle, we are not interchangeable. We demand that you foster true and honest intersectionality.
ALREADY DOING
To the extent it is currently possible, we have been searching for diverse search firms.
We are making sure for the AD search that the finalist pools are truly diverse, that the committees choosing the candidate are diverse. We have started to be more transparent in the hiring process.
Signature has relationships with many BIPOC artists and has not let bad experiences with BIPOC artists mean that we won't hire more BIPOC artists in the future.
We rarely use "most favored nations" contract language.
MORE DISCUSSION NEEDED
Subcommittee believes that this is a larger discussion to be had with the full AR & E working group and WERK. We worry that committing to percentage goals for representation can be problematic, however, what are other measures we can put in place to hold ourselves accountable in our hiring practices? How can we ensure that we are adequately putting in the work to recruit an inclusive pool of candidates?
WERK should discuss things like education requirements, requiring a certain number of years of service, and other discriminatory language in job listings.
Discuss this point in a smaller group (including feedback from BIPOC artists) “Stop using one less-than-positive experience with a BIPOC artist as an excuse not to engage other BIPOC artists”. Is this something we are guilty of?
For Management – set policy to consistently not use the term “most favored nations.” How can we lead by example in a way that inspires artist’s agents to move away from that term?
SUB-COMMITTEE RECOMMENDATION
When considering candidates, white women and white LGBTQ should not "count" as diversity.
Stop only hiring people's "friends," but we recognize that sometimes production jobs need to be filled very quickly. Perhaps do regular interview rounds to create pools of qualified candidates for production jobs (both staff and overhire). Find/commit to recruiting more diverse pools for admin and production jobs, specifically seeking out job listing placements where BIPOC will see them (spending money if necessary). Consider strongly any direct appointments from within the current staff with the thought there needs to be a very good reason for an internal appointment over a public search.
Shifting Organizational BIPOC Power Dynamic
Among Leadership
We demand that BIPOC comprise the majority of leadership positions and the majority of middle management, including production department heads and company managers, across your organization.
We are or have been your staff members. We have seen how you scrutinize candidates and dismiss them based on subjective criteria such as “likability” or give undue weight to criteria that selects out candidates of color such as where they went to school or whether their last institution was one you admire.
We have seen you fail to develop the careers of the BIPOC members you do have on your staff, evaluating their contributions while creating a culture of agreement that silences and does not support employees, especially when they are the “only one” of their kind, which brings with it a special kind of suffering.
We have seen you accept “diversity grants” to hire interns of color only to throw them away after they have fulfilled their utility.
You need to do better if you are to earn our trust. You can’t be antiracist if your leadership is predominantly white.
ALREADY DOING
- Some BIPOC artists feel very supported and not silenced at Signature - but it is a small sample size. See how the rest of the staff feels.
SUB-COMMITTEE RECOMMENDATION
We recognize that the majority of senior and middle management teams are not BIPOC - intentionally hire when positions are open. Discuss expanding senior staff and middle management in order to create more opportunities.
Support professional development opportunities for entry level staff (pay for them).
Create safe spaces for small groups for staff to discuss honestly the culture and other work matters at Signature. Look at this with WERK
Among Literary Departments
We demand that BIPOC comprise the majority of literary departments and that you invest in a multiplicity of cultures.
- Hire majority BIPOC literary departments, give them agency to inform season selection, and empower them to disagree with you during note sessions. Consider this an opportunity to diverge from the myopic, insular stories that we see from you again and again. We are asking you to invest in a multiplicity of cultures and many permutations of form in order to re-imagine what is possible in the theatre. We are asking you to look outside of your own culture and to gain inspiration from others-- and if you do not have the vision to do so, please step aside.
note
- We do not have a literary department, but the issues raised can be addressed below.
Among Casting Departments
We demand casting processes reflect the cultural specificity of the shows being cast.
- If the casting director is white, we demand an additional BIPOC casting director be hired to work alongside the in-house casting office to cast BIPOC shows and be paid a competitive rate for their work.
SUB-COMMITTEE RECOMMENDATION
- Recognizing that we legally cannot ask about a person's heritage when we are hiring, the sub-committee recommends that we make all efforts to hire casting directors and casts that reflect the cultural specificity of the show. IE: a person of LatinX decent would be hired to cast a show that is about the same culture. For example, we think that would have been extraordinarily helpful when casting shows like West Side Story or Gun and Powder. It is important to note that all BIPOC are not from the same culture.
Among Marketing Departments
For Consultants
We demand that BIPOC marketers and PR consultants be present and given priority for covering ALL shows, including those featuring BIPOC artists.
This includes press passes, priority and premium seating, opening night invitations, early ticket sales and holding houses.
Open up channels of contact between marketing consultants and creative teams so that they may more directly communicate around marketing decisions for a project or production.
SUB-COMMITTEE RECOMMENDATION
- RAMP up efforts establish relationships with and invite press who represent BIPOC media outlets to events and press nights.
- Consider when pitching for shows, asking that reporters who represent the culture of the stories being told be of that community. Think about perhaps with outlets like The Post, we might ask if a second reviewer would come along with Peter.
For Staff
We demand that marketing departments hire full time BIPOC staff.
This includes the immediate removal of ineffective, biased administrative and curatorial leadership to demonstrate the good faith of the board for real, systemic change.
Fill open positions with BIPOC marketing talent.
Work with search firms that have a proven track record in finding and recruiting BIPOC talent to replace all open positions.
Create a career track for BIPOC employees with clearly defined goals and processes for advancement within the institution.
As we see you use brown and Black bodies, it is imperative that the theatre’s marketing and fundraising materials and any other brochures be reflective of the racial makeup of your staff and programming.
No longer require that we give up our likeness at the beginning of our engagement, and then use our likeness for YEARS to promote your diversity, marketing, grant writing, galas and board recruitment.
ALREADY DOING
- Currently have 2 Black staff members, plus consultants.
MORE DISCUSSION NEEDED
- Organization-wide discussion about org structure, adding positions of power. Discuss professional development opportunities and training for people of color.
SUB-COMMITTEE RECOMMENDATION
- Continue to recruit, especially people from other backgrounds - LatinX, Asian etc.
- Keep reminding ourselves to use other artists than Signature "favorites"
Among Vocational Hires
We demand that regional theatres invest in local BIPOC vocational populations.
SUB-COMMITTEE RECOMMENDATION
When we need to hire a local electrician, HVAC, plumbers, dry cleaners, restaurants we order catering from, etc. Need to look for firms owned by BIPOC.
Look to partner with local HBCUs and other schools that have high enrollment of BIPOC and their programs for theatre production programs to bring a wider range of potential employees into the organization.
Implementing Equitable Programming
For Those Curating
We demand that you implement equitable season planning, curation and programming.
Do away with the “mainstage” and “second stage” construct that consistently relegates work by BIPOC artists to a secondary position. Stop redlining BIPOC stories to the sidelines.
Invest in a power sharing model for curation and beyond in season programming, including but not limited to having at least one show that is credited to BIPOC staff and community members beyond the Artistic Director.
ALREADY DOING
- Staff reading SigWorks Plays.
SUB-COMMITTEE RECOMMENDATION
Expand season planning teams to include racially diverse voices.
We are not telling stories from all communities, especially LatinX and Asian stories, intentionally seek more of those stories out.
For That Being Curated
We demand BIPOC plays represent no less than 50% of mainstage programming with salaries and royalties equitable to the institution’s highest tier.
- The practice of relegating BIPOC stories to your smallest spaces is an act of ghettoization and marginalization. This racist practice perpetuates an economic inequity for BIPOC artists across the field. Put BIPOC stories on your largest stages. Stop assigning risk to them. We are the mainstream. Invest in us or we’ll stop investing in you.
ALREADY DOING
- RE: Royalties - There are two types of royalties - one of the existing shows where the royalties are determined by the licensing house. For world premieres we currently pay the same royalty, no matter if it is a huge star who wrote it or a local DC author. RE: Salaries - the union salaries are paid per the union agreements for all union members. For overhire and non-union actors they get paid the same in either the MAX or the ARK.
SUB-COMMITTEE RECOMMENDATION
- Since the disparity is the greatest for union members in the ARK and the MAX, the committee suggests running the numbers for making union salaries in the ARK the same level as the MAX to assess what the total cost difference would be. The committee recognizes that this has implications beyond just Signature and goes into union negotiations and the relationship with our LORT colleagues. We also understand a change of this magnitude could take years. We ask that it this is kept on the table, even if it cannot be met in the next fiscal year.
Seeking Out BIPOC Audiences
We demand that BIPOC audiences become a priority for ALL shows across Broadway, Off- Broadway, and in the Regions, including those featuring BIPOC artists.
Invest in and foster reciprocal relationships in BIPOC communities with a concentrated focus and investment in long-term BIPOC audience development.
This includes the hiring of BIPOC marketing consulting teams by all theatres and commercial producers.
Give an equitable and effective budget to marketing consultants.
Ensure an effective time schedule for the execution of marketing and promotion campaigns.
ALREADY DOING
- Keep doing, continue with practices already in place and continue relationship building.
SUB-COMMITTEE RECOMMENDATION
- Never let it out of our sight, keep it a marketing department goal.
Facilitating BIPOC Audiences
We demand equitable access for BIPOC audiences.
Acknowledge that the practice of maintaining donors, subscribers, and board members should also be applied to creating relationships with BIPOC audiences, and not exclusively for BIPOC shows.
Develop affordable ticket price initiatives including reduced price ticketing.
Hold ticket blocks for later and single ticket buyers.
Reserve early ticket sales exclusively for BIPOC audiences.
Provide exclusive access to readings, openings and other curated benefit programs that are usually only offered to donors, subscribers and board members.
Create newsletters and other specialized mailings that prioritize BIPOC audiences.
Abolish the practice of limiting BIPOC ticket buyers to the periphery of audiences and instead promote policies that give them access to the best seat selections before tickets go on sale to the general public.
Offer free tickets to members of the American Indian, Alaska Native and Native Hawaiian tribal community on whose traditional homelands your theatre sits. A
SUB-COMMITTEE RECOMMENDATION
Make more conscious decisions about what shows go on the subscription season and what shows don't in order to provide equitable access to seating to new audiences of color. If we choose to have something on the subscription season, consider holding blocks of seats in prime locations for communities of color. Build a partnership with the Native American tribe on whose lands we sit, give XX# of tickets to each production and offer greatly discounted tickets to the local Native American community.
We need to do a better job of cultivating BIPOC donors through things already started like pre-show subscriber receptions. Invite some of the communities we have relationships with who might not be donors already to events like tech previews, first glimpses etc.
Have a long discussion about opening nights specifically and making sure communities who are represented on stage are represented in the audience on opening nights. Discuss specifically as part of what happened on G&P opening night. Talk about having two opening nights where a mix of communities are invited to attend, choose between both nights so there isn't a "this is the better" opening night. Discuss the cost implications of this and what we can do about it.