In the public imagination, Industrials are frozen in time, an item of nostalgia. A book and documentary from the last several years have helped cement the image of a kickline of executives belting about the newest features of their product, where the high drama of a story is about making that next sale. For their audiences, they were career motivation and celebrations of their achievements. For Equity members on and offstage, they were the job to book.

"We got a lot of money. We were treated very, very well," said Eastern Principal Councilor and BTE Committee National Chair Maureen Moore, who started working on Industrials in the 1970s.

The Industrial's heyday was the 1950s and 1960s, and not only did it have its own Equity contract – it had one of the biggest Equity contracts. What used to be called the Industrial Shows Contract dates to the 1950s in response to the rising popularity of so-called industrials – celebrations of industry. Companies would commission original musicals about their business, and then hire professional artists for private performances, say for employees or investors. In 1957, for example, two thousand Equity members (a whopping fifth of the union) worked on an Industrial at least once, cumulatively earning over one million dollars on the agreement that year –well over $10 million today. Clients ranged from Purina to Whirlpool.

Moore started working on Industrials when they were still plentiful, and in many ways they were convenient – for a substantial paycheck it was a short enough turnaround that she would fit them between other jobs, or support herself while she was auditioning. But she found the talent on the production and in the creative team to be top-notch. Many Industrial writers and directors specialized in that art form, but others also were stalwarts of popular theatre. Luminaries from Jerome Robbins to Sheldon Harnick took their turns with Industrials.

Moore was a dancing french fry for Burger King. She sat on stage in a vintage Mercedes-Benz brought out just for the occasion. She nailed the names of medications she would have to sing in a patter song.

These productions tended to be performed just once or a handful of times, imparting lessons or motivation to the exclusive audience. The fact that Industrials were designed to be transient did not mean they were disposable. In fact, Industrial productions often operated on higher budgets than Broadway shows of the time. And a fast-paced rehearsal schedule could be exhausting, if exhilarating.

"You worked hard," said Moore. "We did deserve the money."

Still, members had to have a sense of humor about the work.

"I remember being in this oversized bear suit," said Central Regional Board Member and BTE Committee 1st Vice Chair Richard Shavzin, "I remember saying out loud, 'Wow. Four years of university theatre for this.' But like other members, he was grateful for the work that paid well for a short production schedule.

"It was part of coming up in the business and doing whatever you could," he said.

And there were often other perks. Another big appeal of Industrials was the travel. While life on the road has its pros and cons, Industrials meant a ticket to where companies wanted to take their employees as a treat. Moore went to Hawaii a whopping nine times for Industrial work.

"There were times [I had two Industrial offers and] I said, 'Well, which one is going to the nicer place?'" she recalled.

Furthermore, the adoration of audiences excited to see shows that celebrated them and their work was infectious. Being a dancing salesman, or bear, or french fries or beer can could nearly guarantee you thunderous applause.

Moore reflected that that sort of safety meant that Industrials taught her how to be a better artist.

"It allowed me to take chances I don't think I would have taken stepping on a stage in Chicago or New York," she said. "There were no critics. You were going to get loved no matter what."

Whether an Industrial was a survival job, a career steppingstone or the makings of a lifelong career, Equity members made their impact as artists by telling stories that their audiences were eager to hear. And its legacy continues with the Business Theatre and Events Agreement.