Posted by Bruce Miller
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Well, it’s happened. Broadway is on strike.
This past Saturday, IATSE (the International Alliance of Theatrical Stage Employees) stunned just about everyone by directing their NYC chapter (Local One) to call a strike for 11 a.m., shutting down most of Broadway. IATSE is the same union whose members handle stagehand responsibilities for the largest venues right here in River City, including the Landmark Theatre and the Carpenter Center. None of Richmond’s independent theatres, including Barksdale and Theatre IV, work under IATSE contracts.
This strike affects Broadway only, and not even all of Broadway. Disney theatres have their own contract with IATSE, as do all of Broadway’s nonprofit venues (Circle in the Square, Manhattan Theatre Club, Roundabout). Consequently a few Broadway shows are still up and running: Young Frankenstein (which just opened at the Hilton), Mary Poppins, Xanadu, The 25th Annual Putnam County Spelling Bee, Mauritius, Pygmalion, The Ritz and Cymbeline. And Off Broadway is also still going strong.
The strike shut down approximately two dozen Broadway theatres that are owned and operated by the members of The League of American Theatres and Producers. The strike began with Saturday’s matinee and will continue until … no one knows when. It was called for 11 a.m. to shut down an early family matinee of Dr. Seuss’s How the Grinch Stole Christmas.
Apparently no one saw the irony.
Local One has never called a strike before. And in late October, they promised to give advance warning before calling a strike now. On Saturday morning they broke that promise. This meant that thousands of tourists who had made their plans weeks in advance showed up in New York on Saturday, checked into their hotels, and then learned at the last moment that the shows they had come to see would not be taking place.
Refunds will be given for previously purchased show tickets, but the considerable transportation and accommodation expenses will have to be eaten by the audience members. And the ability to get last minute tickets to those few Broadway shows that are still running, or to Off Broadway shows, is extremely limited. On Saturday, internet tickets for Young Frankenstein were selling for $1,500—each!
Depending on which side you listen to, the strike is a self-serving folly or a defensible stand for fairness.
The heart of the labor dispute is not the amount of the wages paid to the individual worker, but the number of workers that the union requires the producers to hire. The last contract between The League of American Theatres and Producers (they’re the ones who own the majority of Broadway’s theatres and the strike is targeted at them) and Local One (representing the stagehands) expired in the summer. Since then, the League and Local One have not been able to agree on the number of workers required for load-ins, load-outs, and daily operations of a running show.
The expired contract required the League to hire, in many cases, more union workers than were actually needed to get the job done. The producers call this “featherbedding,” and they refuse to allow any future contract to include provisions that require the hiring of unneeded workers.
Before you agree 100% with this reasonable position, consider the stagehands’ point of view. When Broadway is running at capacity, the producers require approximately 2,500 stagehands to get the jobs done. The union has limited its membership to approximately 3,000 highly skilled workers. It’s a TOUGH union to join, and those who are members have years of experience at what they do.
The problem is that, due to the vagaries of show business, at any average point in time, only 500 or so of the union’s members are employed full time. And that was under the old contract. Shows open and shows close—and those decisions are all made by the producers in their own best financial interests. The “featherbedding” that was written into the previous contract (or, as the union would prefer me to say, the “job security provisions” that were written into the previous contract) simply take one small step toward ensuring that hardworking stagehands have the opportunity to earn a living wage even after the producers have decided to close a show.
I can understand and respect both points of view. Broadway requires the infrastructure provided by the 3,000 stagehands and their union. And it's foolhardy to require something and then refuse to pay for it, one way or another.
Hopefully, this labor dispute will be resolved soon. The ones suffering the most are all the theatre artists who won’t be paid while the strike continues, and all the audience members who will be disappointed by the cancellation of their holiday plans.
Perhaps now is the time for both sides to enter into the arbitration that NYC Mayor Michael Bloomberg has offered, but, thus far, the warring parties have refused. And while that arbitration is going on, why not let the Broadway shows keep running? Let the Grinch who steals Christmas be a fantasy with a happy ending, not an ongoing reality with no end in sight.
--Bruce Miller
To view articles related to this subject, click on the following:The Wall Street Journal
RedOrbit
Epoch Times
Google News
Bloomberg
Tim Worstall Tabloid Edition
Fox News
NY Times
Variety
Well, it’s happened. Broadway is on strike.
This past Saturday, IATSE (the International Alliance of Theatrical Stage Employees) stunned just about everyone by directing their NYC chapter (Local One) to call a strike for 11 a.m., shutting down most of Broadway. IATSE is the same union whose members handle stagehand responsibilities for the largest venues right here in River City, including the Landmark Theatre and the Carpenter Center. None of Richmond’s independent theatres, including Barksdale and Theatre IV, work under IATSE contracts.
This strike affects Broadway only, and not even all of Broadway. Disney theatres have their own contract with IATSE, as do all of Broadway’s nonprofit venues (Circle in the Square, Manhattan Theatre Club, Roundabout). Consequently a few Broadway shows are still up and running: Young Frankenstein (which just opened at the Hilton), Mary Poppins, Xanadu, The 25th Annual Putnam County Spelling Bee, Mauritius, Pygmalion, The Ritz and Cymbeline. And Off Broadway is also still going strong.The strike shut down approximately two dozen Broadway theatres that are owned and operated by the members of The League of American Theatres and Producers. The strike began with Saturday’s matinee and will continue until … no one knows when. It was called for 11 a.m. to shut down an early family matinee of Dr. Seuss’s How the Grinch Stole Christmas.
Apparently no one saw the irony.
Local One has never called a strike before. And in late October, they promised to give advance warning before calling a strike now. On Saturday morning they broke that promise. This meant that thousands of tourists who had made their plans weeks in advance showed up in New York on Saturday, checked into their hotels, and then learned at the last moment that the shows they had come to see would not be taking place.Refunds will be given for previously purchased show tickets, but the considerable transportation and accommodation expenses will have to be eaten by the audience members. And the ability to get last minute tickets to those few Broadway shows that are still running, or to Off Broadway shows, is extremely limited. On Saturday, internet tickets for Young Frankenstein were selling for $1,500—each!
Depending on which side you listen to, the strike is a self-serving folly or a defensible stand for fairness.
The heart of the labor dispute is not the amount of the wages paid to the individual worker, but the number of workers that the union requires the producers to hire. The last contract between The League of American Theatres and Producers (they’re the ones who own the majority of Broadway’s theatres and the strike is targeted at them) and Local One (representing the stagehands) expired in the summer. Since then, the League and Local One have not been able to agree on the number of workers required for load-ins, load-outs, and daily operations of a running show.The expired contract required the League to hire, in many cases, more union workers than were actually needed to get the job done. The producers call this “featherbedding,” and they refuse to allow any future contract to include provisions that require the hiring of unneeded workers.
Before you agree 100% with this reasonable position, consider the stagehands’ point of view. When Broadway is running at capacity, the producers require approximately 2,500 stagehands to get the jobs done. The union has limited its membership to approximately 3,000 highly skilled workers. It’s a TOUGH union to join, and those who are members have years of experience at what they do.The problem is that, due to the vagaries of show business, at any average point in time, only 500 or so of the union’s members are employed full time. And that was under the old contract. Shows open and shows close—and those decisions are all made by the producers in their own best financial interests. The “featherbedding” that was written into the previous contract (or, as the union would prefer me to say, the “job security provisions” that were written into the previous contract) simply take one small step toward ensuring that hardworking stagehands have the opportunity to earn a living wage even after the producers have decided to close a show.
I can understand and respect both points of view. Broadway requires the infrastructure provided by the 3,000 stagehands and their union. And it's foolhardy to require something and then refuse to pay for it, one way or another.Hopefully, this labor dispute will be resolved soon. The ones suffering the most are all the theatre artists who won’t be paid while the strike continues, and all the audience members who will be disappointed by the cancellation of their holiday plans.
Perhaps now is the time for both sides to enter into the arbitration that NYC Mayor Michael Bloomberg has offered, but, thus far, the warring parties have refused. And while that arbitration is going on, why not let the Broadway shows keep running? Let the Grinch who steals Christmas be a fantasy with a happy ending, not an ongoing reality with no end in sight.
--Bruce Miller
Ms. Aaron is an “earthy, plump-figured stage actress of Broadway (Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean; Social Security; I Hate Hamlet) who appeared as a character actress on film and TV. She was a main ensemble player in several of Woody Allen's films during the late 80s and 90s, essaying many of his typical Jewish relatives, neighbors and/or friends in traditional New York settings.
