On the latest episode of the Artistic Finance podcast, a star-studded panel of theatrical lighting designers demystifies the tricky subject of pay negotiation. From setting rates to using union resources, the discussion offers a wealth of insights for both seasoned professionals and those just starting their careers. This roundtable features industry heavyweights who share their personal strategies and hard-earned wisdom for advocating for fair compensation in a competitive and often opaque field.
Jeanette Oi-Suk Yew, an award-winning lighting and projection designer with a background in puppetry, kicked off the conversation by emphasizing the importance of understanding the full scope of a project before negotiating pay. Jeanette, who teaches lighting design at NYU Tisch Drama and has been described by The New York Times as “clever” and “inventive,” also urged designers to treat negotiation as a conversation. “Approaching it in a gentler way helps keep the lines of communication open,” she said, adding that this attitude can lead to better outcomes for both designers and producers.
Isabella Byrd, a Broadway lighting designer recently nominated for two 2024 Tony Awards for her work on Cabaret and An Enemy of the People, echoed Yew’s sentiments. She advised up-and-coming designers to determine their rates by consulting with peers to ensure fair compensation across the board. Byrd’s “PPP” rule—People, Project, Pay—helps guide her decision-making. She also stressed the importance of sharing information among designers, especially when agents are involved. “Agents are not an exclusive arrangement,” she explained, “you can use them on a case-by-case basis.”
Jen Schriever, who has been nominated for multiple Tony Awards for her work on Broadway shows like A Strange Loop and Death of a Salesman, underscored the value of maintaining kindness and humanity throughout negotiations. “Don’t get angry; it’s not helpful,” she advised. Schriever’s approach to balancing firmness with empathy resonated throughout the discussion, particularly when she mentioned that general managers (GMs) are often simply working within tight budgets. A recurring theme of the conversation was the need to be both assertive and understanding when advocating for oneself.
Aja M. Jackson, a Broadway associate on Fat Ham and Off-Broadway designer of A Commercial Jingle for Regina Comet, shared her meticulous approach to pay negotiation when she began her career. Jackson broke down the number of hours required for a project and presented that figure to producers, ensuring they understand the value of a lighting designers work. She also advised designers working now to join the union, United Scenic Artists (USA 829), as soon as possible. “If you’re doing the work, you deserve the protections,” she emphasized.
Industry legend Ken Billington, a Tony Award-winning designer known for his work on Chicago (and at least 100 other shows) reminded listeners that in certain contracts—such as LORT shows—negotiating beyond the minimum rates is often difficult, and nearly impossible. However, for Broadway and Off-Broadway productions, there is more room to negotiate more liveable fees. Billington highlighted the role of agents and lawyers, suggesting that for negotiations, which kick off each project, hiring a lawyer might be more effective than engaging a full-time agent. The lawyer fee is substantial, but only a one-time fee. The agent will collect a fee for the life of the project.
The panel wrapped up by diving into the advantages of union membership, with insights from Heather Gilbert, a Tony-nominated designer for Parade on Broadway, and Natalie Robin, lighting designer and the USA 829 labor organizer. They praised USA 829 for providing crucial resources to designers, whether they are union members or not, and encouraged young professionals to lean on the union for support in navigating contracts, regardless of whether those young professionals are in the union or not.
Throughout the episode, the designers shared candid advice about working with agents, advocating for better pay, and leveraging union resources. The common thread was clear: transparency and communication are essential, and designers should never be afraid to ask for more—whether that’s more money, more time, or more support.
For those interested in diving deeper, this episode of the Artistic Finance podcast can be found here.
In a field where many are reluctant to discuss money, this episode stands out as a beacon of clarity, offering both practical tips and encouragement for designers at all stages of their careers.