Good entertainment as a memorable highlight

Press, 16 August 1978, Page 25

Good entertainment as a memorable highlight

Good entertainment can prove the highlight of a convention, and certainly make such occasions memorable. It all depends on the convention budget, but a good band to play for a four-hour social evening can cost from $lOO upward — and that cost can virtually be doubled should a floorshow be included. But. of course, it all depends on the availability of entertainment in the convention area. If a guest artist has to be brought in from another centre, travelling costs are extra and accommodation and meals may have to be provided. Most entertainers are available through agencies, which can offer topflight artists, usually on a commission basis. This is often 10 per cent of the performance fee, though some agencies work on a different system so there is no extra charge to the convention organiser. Firstly, a good band must be considered — one which is versatile enough to dish out all types of music and capable of backing floorshov.s. Preferably the band should have its own vocalises), especially if the organisers are not going to the expense of a floorshow. However, a good floorshow acts as a drawcard and should ensure a good turnout for the social occasion. Though outsiders might not think so. good musicians work hard at their craft and should be treated as professionals. If there is a master of ceremonies, he should liaise and work in with rhe band. However, good bands can run an evening without such help, but ensure there is one person from the convention organise'ion responsible for the band. He should make himself known to the band when it arrives and check with the musicians throughout the evening to see all is well. He should also be responsible for paying the group straight after the job. if possible, the band should have access to the

venue a good few hours before the social — there is nothing more unsightly than musicians carrying in their gear and setting it up while people are sitting around waiting for something to happen. It is also not too pleasant to have to listen to a band tuning up and testing microphones. A band should do all this before anyone arrives on the scene, except perhaps for last-minute adjustments. A band may also have to rehearse with the floorshow artist before the social. The musicians should preferably have a room to themselves for changing and where they can retire for breaks — it is unsightly to see the band drinking on stage or lounging around amid the guests. Floorshow entertainers should also have their own dressing-room handy, unless they are staying at the same hotel as the gathering, and an entrance handy to the bandstand so they do not have to push their way through the crowd to appear. Light refreshments should be made available for the musicians — in fact, on licensed premises, it is a stipulation of the New Zealand Musicians Union, that such refreshments be supplied. The band is also entitled to a 10-minute break every hour, and these can be arranged between the band leader and employer to suit. Usually the band leader looks after this, but if there is to be a break for speeches or presentations, he should be consulted. After all, it would be wasted value to call the band to halt for a ceremony about 10 minutes after it has already had a break. The cost of a band can vary from $9O for a trio to $lBO for a four or fivepiece — and upward, if the band is in big demand. Floorshows, as well as bands, can be booked through agencies. Miss Mary Trholl, whose Auckland Entertainment Centre has branches in Wellington and Christchurch, says

many facets must be considered when conventions are being arranged, such as the type of meeting and the age groups being catered for. The most popular artists, ' she says, are male and female vocalists whose prices range from about $BO to $l5O for a 30 to 40-minute show. Travelling is usually based on 25c per mile return, plus overnight accommodation and meals if out of Auckland. “Most convention organisers refer to the yellow pages and contact a suitable agent to arrange everything,” says Miss Trholl. “We provide a highly specialised booking service based on 24 years’ experience and we do not make a booking charge for our services.” The artists are usually paid directly after their show. If, through accident or illness, the artists cannot appear, the agency should be notified immediately so it can send a‘replacement performer. “Fortunately this does not happen often,” says Miss Trholl. Vocalists available through the Mary Trholl Entertainment Centre include Bridget Allen, Tommy Adderley, Les Andrews, Brent Brodie. Lyn Cantion, Ray Columbus, The Hammond Family, Larry Morris and Frankie Rowles. Other entertainers available include guitarist Gray Bartlett, singer/pianist Max Cryer, Crunchie the Clown, singer/comedian Lou Clauson, comedians Ralph Cohen and Chic Littlewood, vocalist/instrumentalists Silvio De Pra and Brendan Dugan, the Eureka Jazz Gentlemen, country and western entertainer Rusty Greaves, the Kini Trio, mime artist. Don Linden, Tom Bradley, compere John-Maybury, female impersonator Noel McKay, fire-eater Orchante, magicians Peter and Margo, the Society Jazzmen, impressionist Beryl Te Wiata and magician/ventriloquist Jon Zealando. And, of course, there are other types of entertainers, such as dancers,

pianists, pipers, other instrumentalists. a bell act, a one-man band, juggler and even trick cyclists. Most forms of entertainment can also be provided by Hegan Entertainment Services, Ltd, in Auckland — magicians, singers, dancers (including a belly dancer, Polynesian groups and soloists), ventriloquists, vocal groups, mime acts and comperes. “The only entertainment we don’t supply are strippers,” says the director, Mrs Elaine Hegan. "The fees for individual artistes vary enormously. Comperes naturally, cost more than spot artistes, name acts cost more than unknowns.” Other expenses involved are travel, accommodation and meals. “If a singer is involved, a first-class leading band is usually required to give the artiste a rehearsal before the show,” she says. “Our agency prefers the artiste to be paid by the client at the conclusion of their performance — the fee quoted. Agency fees being paid by the performer to the agent, no separate fee is paid the agent by the client. “When the artiste is booked by a client through this office they are informed of the job and conditions. They are constantly checked by us up to the time of the job, and would fail to appear only if something went radically wrong, such as accident or sickness. “If an artiste reports in sick before the date of the show, the client is notified and we do our very best to replace them with the best act available ; — after discussion with the client.” Hegan’s is the sole agent for several artistes, which means that whoever books them must go through the Hegan office. If another agent books the entertainers, the fee will be 10 per cent higher to cover their commission. “If a special artiste is required from overseas we have agents with whom we work in various countries. so would most probably be able to contact them for a client,” she says. Artistes handled by Hegan’s include Ray Woolf, Yolande Gibson. George Tumahai. Paul Fisher. Chic Littlewood, the Yandall Sisters, Family Affair and Dave Cowell. Claiming to be the longest established and largest theatrical agency in New Zealand is Fullers Entertainment Bureaul Fees for acts vary from artist to artist and are continually being reviewed in the light of cost-of-liv-ing increases, according to the manager, Mr Lew Pryme. “For out-of-town book-

ings we ask on behalf of our clients full accommodation and first-class travel. For those using car transport, we adopt Equity and Musicians Union travel rates. The people hiring the talent are asked by this office at least for a 10 per cent deposit as a sign of good faith and are asked to pay the act directly after the performance. “This office contracts every job, offering insurance for the act, and if not satisfied the client can turn to the Actors Equity of New Zealand, or the New Zealand Musicians’ Union for complaints.” Mr Pryme said the public often wanted to know what an entertainment agent was. “In short, .an agent is one who negotiates work and bookings for talent, whether it be a solo performer, group or band. Please do not confuse the role of artists’ agent with that of personal manager. They are quite separate identities. “It should be to the agent that members of the public turn when booking talent . . . but all too often clubs, committees and individuals turn to the artist themselves or to their respective managements and the bookings go astray. “An agent can only survive by operating a legitimate business. He con-

tinues only by operating a quality service. Performers acknowledge this — they too are keen to be represented only by the best. “The hassle of negotiating work and contracts

and arguing terms and money, is not their responsibility. For a commission — usually 10 per cent — they assign a bona fide agent to handle this as- > pect of the business.”