Think You’re Paying for 2 Hours? Think again.

Few topics create more tension in the performing arts than pricing. I cannot think of another industry where it is so contentious.

It’s an important subject to address, because both clients and performers should understand exactly why entertainment services cost what they do. I can get into the finer details in later posts, but for now I’ll cover the basics.

Each summer, I receive inquiries for private parties in Long Island, Jersey, and the Hamptons. The requests are usually very similar: a themed event, a strong “wow” moment as guests arrive, and striking entertainment throughout the night to keep the energy alive.

Wonderful. I love these kinds of events. They are fun and it’s always a joy to contribute to something when you know the client cares about their guests and the little details.

Then we get to the question that inevitably follows:

“I only need you for a few sets. Maybe two hours total. Why is it so expensive?”

A fair question. Let’s break down what those two hours actually represent.

1. The caliber of the performance

As a performer with nearly two decades of professional experience, I charge accordingly.

Experience matters. It means that when something unexpected happens — and it often does at live events — I can solve the problem quickly, calmly and unnoticed by guests. Clients aren’t just paying for a performance. They are paying for professionalism, preparation, reliability, and the ability to navigate situations without disrupting the event.

When a client hires someone at a high level, they should never have to worry about skill, timing, or organization. That is part of the service. And that is what they get when someone like me is booked for an event.

2. The performance itself

Yes — the performer is there to deliver a few sets.

During the contracted time, they must remain engaged, present, and fully “on.” Maintaining that level of focus and energy is part of the job. There is no “autopilot mode.”

Guests never see the preparation behind those moments. They only see the result.

3. Equipment and costumes

As an aerialist, burlesque dancer, and showgirl, I often bring specialized equipment to events. Like any professional equipment, it experiences wear and tear over time.

Even performers who are not bringing rigging or other apparatuses are likely supplying their own materials — costumes, makeup, wigs, microphones, DJ equipment, and other tools of the trade. These are professional assets that require maintenance and, in some cases, replacement.

Those costs are part of the infrastructure that supports the performance.

4. Transportation

Where is the event located?

For many of the parties described above, travel from New York City to Long Island or the Hamptons must be factored into the fee. That may mean train tickets, gas, mileage, tolls, or several hours spent commuting.

This dynamic exists beyond New York as well. Artists often live where they can afford to sustain their careers, while the clients hiring them are located elsewhere. To put a finer point on it: a performer who spends the (unpaid) hours required to elevate their craft is not living in a luxury home. Bringing in talent is a cost.

Late-night returns also need to be considered if accommodation is not being provided. Anyone who has driven back to NYC from the Hamptons after an event knows the reality of that journey. It has gotten even more dangerous as the years have passed. Travel and navigating hazardous conditions are part of the job, and like any profession, time has value.

5. Training and rehearsal

Professional performers do not simply appear on stage.

Maintaining a high level of performance requires constant training. For aerialists and dancers, this often means time in the studio nearly every day — ballet classes, conditioning, rehearsals, and cross-training.

Studio space and training programs all come with costs. Maintaining one’s body is the greatest investment a performer can make, and it is essential for sustaining a professional career.

6. Promotion and professional presence

Clients typically find performers through websites, social media, or professional referrals.

Maintaining those platforms requires ongoing time and financial investment — photography, website hosting, branding, and marketing. While these are not direct event expenses, they are part of the process that allows clients to find and evaluate performers in the first place. Social media management alone is a whole career these days. Professional performers wear this hat along with many others.

7. Taxes and financial planning

Most performers operate as independent contractors. That means setting aside a portion of every payment for taxes.

Unlike traditional employment, performers do not receive benefits, retirement plans, or employer contributions. Long-term financial planning becomes the performer’s responsibility.

For those who dedicate themselves fully to this profession, pricing must reflect the reality that this is not a hobby — it is a career.

8. The practical costs of working

Internet, phone service, and rent — the basic necessities that allow a professional to communicate with clients, manage bookings, and maintain a stable working environment.

These are ordinary expenses, but they are still part of the equation.

9. Insurance

Events — particularly those involving aerial work or physical performance — carry inherent risks. Proper insurance protects both the performer and the client in the event that something unexpected occurs.

In recent years, these costs have continued to rise. It is not an area where responsible professionals cut corners.

A final note on pricing

There is something performers should understand clearly.

If you consistently price yourself at a low rate, that price becomes the expectation. There are no annual raises in this industry. There is no corporate ladder.

Your rate communicates how you value your work — and others will take their cues from that. I had a professional colleague and friend once say to me, “When I saw that you were booked for ‘xyz,’ I knew the rate was good.” Having a reputation like that helps set standards.

I produced a show for two years with a rate that was fair to the client but also respected the performers. After 2 years, 108 shows, and 51 regularly booked performers, that rate began to carry beyond the show itself. Performers started to expect it elsewhere. It became a standard in the New York industry, which is something I am very proud of.

For clients, pricing often acts as a quality filter. When hosting an important event, most people do not choose the lowest-priced option available. Think about the last time you were in a wine shop selecting a bottle to bring to an event - did you choose the cheapest one? Or did you choose one that was a bit more expensive from a nice region because you cared about the people attending and the experience? Same thing here. Experience, preparation, and reliability have value.

Undervaluing professional work creates a race to the bottom. It is a short and quick race that benefits no one.

When someone hires a professional performer, they are not paying for two hours.

They are paying for the years of training, discipline, and infrastructure that make those two hours possible.

Until next time 🦢🪶