To see how this info compares to shows 1-100, please take a look here.
Shows 101-200 (aka the 2nd hundred shows) for Counting Actors had:
- 62 male directors, 55 female directors (several co-directed shows and/or shows made up of one-acts with different directors. Musical Directors are also included as directors).
- 99 male writers, 32 female writers (again, one-acts, co-authors and counting writers of books, lyrics, music meant that this total was over 100)
- This means 53% male directors and 47% female directors. It means 76% male writers and 24% female writers.
- 774 actors worked on those 100 shows. The largest cast show was Legally Blonde at Diablo Theatre Company, and the count includes two 1 person shows. These actors include 454 men and 320 women (59%, 41%), 308 union actors and 466 non-union actors (40%, 60%) and 676 locals and 96 non-locals (88%, 12%).
- Of the 308 union actors, 192 were men and 116 were women (62%, 38%), and while not explicitly asked, I noted that in 2 cases, the non-local actors were non-union, so that means that 70% of the union roles were cast with local actors and 30% from out of town.
Many more posts to come on this topic. Like I did back in March with the first 100 shows, I’m planning to break down this data by the year the play was written (pre-1960, 1960-2000, 2000 to now) and by the type of union contract used (no contract, BAPP, contracts w/out health weeks, contracts w/health weeks).
I’m also curious to look at the affinity between women writers and other opportunities for women on a project (in other words do women write more female characters?), as well as how this question plays out when a woman is a director.
And, I’m planning to put the first 200 shows together into some additional data, and use infographics to help tell the story.