They are billed as “acting workshops” – opportunities to learn the craft and network. But to some in Hollywood they are something else: the dirty secret of the fame game.
Dozens of companies run workshops across Los Angeles promising jobless and struggling actors a chance to hone their skills in a hyper-competitive industry.
In reality, critics say, these sessions are de facto auditions that actors pay to attend, which is not only wrong but also illegal. They call the practice “pay for play”.
According to this critique, casting directors and their proxies disguise auditions as training exercises in order to pocket about $50 from participants.
“The system is horribly exploitative,” said Dea Vise, an outspoken casting director. “And it goes against diversity because actors who can’t afford to pay don’t get to play at all. Most actors are afraid to speak out because they’re afraid of being blackballed by the casting community. Everyone wants a magic potion to make themselves famous, and there just isn’t that.”
An investigation in the Hollywood Reporter, a trade magazine, shone a harsh light on workshops this week, saying they had “metastasized” into a human resources policy for the entertainment industry.
“The result is a gig economy in which temporary labor pays to be ‘taught’ by independent contractors, who in many cases are staffing programming for media corporations,” the article said. “Cost-conscious networks and studios offload a burden once held by productions to cast their shows on to the labor market itself. Millions of dollars previously spent on casting have been cut from balance sheets, and tens of thousands of aspiring actors have been stuck with the bill.”
The article said the workshops were linked to original productions on nearly every broadcast and cable network as well as prominent streaming services.
“Many observe that more than half of new actors give the system a shot. A typical aspirant might spend $1,500 a year on two to three workshop classes a month in the hope of landing an entry ‘co-star’ role that pays about $1,000 for a day’s work.”
The investigation triggered a polarised reaction, some hailing it as an overdue expose, others lamenting an unjustified attack on a legitimate, valuable resource for actors.
Mike Funk, an actor and writer, said everyone knew workshops were really auditions. “The whole thing is pretty disgusting – how some of these casting directors are making money off of struggling artists. You learn nothing from these workshops. You get to run your scene or a monologue. They have a monitor with a stopwatch around their neck and they knock on the door when your time is up. They are not teaching you anything; it’s a paid audition, bottom line.”
Under the Krekorian Talent Scam Prevention Act, exchanging money for the prospect of employment is illegal in California. The law bans workshops and casting directors from charging or attempting to charge performers for auditions or employment opportunities.
Rob Wilcox, a spokesman for the Los Angeles city attorney, said that prosecutors had taken six cases under the act, but none related to casting workshops.
Asked if workshops were exploitative, representatives for the actor’s union, Sag-Aftra, and the Casting Society of America, were unable to provide an immediate response.
Some industry figures defended workshops as invaluable stepping stones for talented, driven actors.
“This is a way of thinning the herd,” said Marlene Forte, a veteran actor who has appeared in Dallas and Star Trek. “Actors have to act and workshops are a great way of doing it. Why not do it in front of someone who can hire you? If I was an actor here without representation I’d do it. Casting directors are the people who need to know your work. Plus, workshops are tax deductible.”
Gigi Garner, a talent manager, said some workshops were dead ends but others opened doors. “You have to do your homework. Workshops give actors a chance to meet casting directors that they may not be able to get in front of any other way. I’ve recommended them to my clients but I only choose those casting directors that I know will bring them in … if impressed.”
Casting directors were not the villains in the Hollywood machine, Garner said. “Casting directors don’t get paid all that much and they work really long hours.”
•A previous version of this article described Gigi Garner as a talent agent. She is a talent manager and never claimed to be an agent.
