For playwrights, working in film and television has long been a way to supplement their income from the theater world. However, in recent years, many writers have noticed a decline in the stability and financial security that these mediums provide. This has left them frustrated and angry, similar to their screenwriting colleagues.
Playwright Hilary Bettis, who wrote “72 miles to go …”, expressed her disappointment during a themed Playwright Picket supported by the Writers Guild of America. The event included a free taco truck provided by Lin-Manuel Miranda and attracted prominent playwrights and members of SAG-AFTRA. Writers like Bettis are fully aware of what’s at stake if a higher-wage and protection contract is not reached. Many writers are struggling with low pay rates and poor working conditions in the film and television industry, jeopardizing their ability to continue writing for the stage.
While many playwrights are members of the Writers Guild of America, they do not have their own union and are not allowed to collectively bargain. Unlike TV and film writers, playwrights own the copyright to their own work and are considered independent contractors. While this status grants them autonomy and power in the theater world, it also means that they often need to turn to film and television to receive health insurance, pension plans, and other benefits.
The lack of a union and collective bargaining power in the theater industry has led to a significant crossover between playwrights and screenwriters. This crossover is not only due to the need for supplemental income and benefits but also because many screenwriters are initially trained in the world of theater. However, some playwrights, like two-time Pulitzer Prize winner Lynn Nottage, fear that artificial intelligence and shrinking room sizes could threaten the pipeline of playwrights becoming screenwriters.
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As a response to the lack of action they can take within the theater world, some showrunners are returning to their roots during the Writers Guild strike. Playwrights such as Katori Hall, Marja-Lewis Ryan, and Steven Kan are working on plays, taking advantage of the fact that theater work is not covered under the AMPTP agreement. While this provides some solace, playwrights like Pulitzer Prize finalist Kristoffer Diaz argue that the lead time for development and production in theater means that there may not be an abundance of new plays produced during the strike.
Many playwrights from the picket line in New York voice their dissatisfaction with pay rates, lack of benefits, and inadequate representation in the theater industry. Playwright Branden Jacobs-Jenkins, for example, is frustrated that despite working in two fields that have experienced success, he and others are now struggling to make ends meet. Playwrights have the advantage of owning the copyright to their work, but this also comes with downsides, such as lack of housing and the need to find work in television for health benefits.
During the strike, the theater world and the Writers Guild initially had some disagreements, but in the end, they found common ground in supporting each other. Despite the outcome of the contract negotiations, it is likely that there will continue to be a significant overlap between the worlds of stage and screen. Prominent figures like William Jackson Harper, who is both a playwright and an actor, believe that bigger names need to use their voices to support those still struggling to make a living in both mediums.
In conclusion, playwrights are increasingly frustrated and angry due to the decline in stability and financial security provided by film and television work. Many playwrights rely on these mediums to supplement their income and receive benefits that the theater industry does not provide. The lack of collective bargaining power and representation in the theater world has forced some playwrights to turn to film and television work, creating a significant crossover between the two mediums. Despite these challenges, playwrights remain resilient and determined to continue writing for the stage while advocating for better conditions and pay in both industries.
