 The Clarinet BBoard
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Author: John J. Moses
Date: 2003-03-02 22:43
Here's the latest on contract talks:
"Musicians, Producers Take “Intense” Talks Into Night;
Union Authorizes Strike
By Robert Simonson
March 1, 2003
Members of Local 802 of the Associated Musicians of Greater New York voted in favor of a strike authorization early evening, March 1, a little more than one day before their current contract with Broadway producers comes to an end. The vote was 482 to 15.The vote came after a full day of negotiations between Local 802 and the League of American Theatres and Producers. The two parties convened early in the morning and broke at 4:30 PM. They reassembled at 7:30 PM and are expectedly to work late into the night.
Jed Bernstein, president of the League, would not characterize the talks beyond saying they had been “intense.” He added however that, whatever the outcome of the negotiations, “the show will go on. We have a responsibility to Broadway, to the audiences, and, frankly, in this economy, to the city.”
The League said in a statement: "Broadway producers remain committed to live music, but if musicians strike, Broadway shows will go on with virtual orchestras or other forms of music to accompany the live performers on stage. We are committed to live music. The only thing that will stop live music on Broadway is a strike by the musicians union."
A spokesperson for the union said no progress had been made on a new agreement as of 5 PM on Saturday.
Talks will also run the length of Sunday, March 2. The pact expires at midnight that day.
Management and labor are trying to ward off a strike by pit musicians, which would cripple, but perhaps not halt Broadway musicals. Broadway producers have all along contended that they are prepared to employ so-called "virtual orchestras" to keep their shows going, should musicians walk out. Most musical productions currently on Broadway rehearsed with technological music-makers this week.
Producers have not stated their policies should audiences, angry about a show bereft of live music, demand refunds.
Throughout the talks, the issue of minimums has been the battle cry of both sides. Minimums are the number of musicians the union contract mandates producers hire for each show. This sometimes results in one or more union members being paid, but not used. The union maintains the statute is needed to prevent producers from dictating orchestral needs, such as using synthesizers or two pianists in lieu of a full orchestra. But producers have labeled it "featherbedding" and charged that composers and orchestraters, not the union, should dictate the makeup of a pit. (The union countered with a petition signed by many leading composers and music directors stating they were in favor of minimums.)
In recent days, there has been talk on both sides of a possible compromise, where the minimums would not be eliminated, but the number of required musicians reduced.
Some observers contend the fight will be resolved in the nick of time, as have previous Broadway labor disputes. Others are more grim. A backward glance offers a third scenario. In 1998, the contract between Local 802 and the League passed its March 8 expiration date and talks continued without a strike or work stoppage. A tentative agreement with producers on a new contract was finally reached on March 14, nearly a week later."
JJM
Légère Artist
Clark W. Fobes Artist
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Author: John J. Moses
Date: 2003-03-02 23:08
More news just came in tonight:
"Broadway Musicians Union Extends Contract Deadline
to Midnight March 6 as Talks Continue
By Robert Simonson
March 2, 2003
Repeating, in part, the scenario played out four years ago, Local 802 of the Associated Musicians of Greater New York has decided to extend its current contract with the League of American Theatres and Producers until midnight Thursday, March 6. The pact was set to end on Sunday, March 2.A spokesperson for the union called the move a “good faith” gesture inspired by the fact that the two sides were still talking. She added, however, that no substantive progress had been made on the major issues. The extension temporarily lifts the specter of a musicians strike, a prospect which has set Broadway’s nerves on edge for the last few week.March 2 talks were expected to reconvene at 7 PM and begin again on Monday morning.In 1998, the contract between Local 802 and the League passed its March 8 expiration date and talks continued without a strike or work stoppage. A tentative agreement with producers on a new agreement was finally reached on March 14, nearly a week later. If all goes well, it looks as if the current tussle could conclude the same way.Members of Local 802 of the Associated Musicians of Greater New York voted in favor of a strike authorization early evening, March 1. The vote was 482 to 15. The vote came after a full day of negotiations between Local 802 and the League of American Theatres and Producers. The two parties reconvened early in the morning and broke at 4:30 PM. They reassembled at 7:30 PM and worked late into the night.At the time, Jed Bernstein, president of the League, would not characterize the talks beyond saying they had been “intense.” He added however that, whatever the outcome of the negotiations, “the show will go on. We have a responsibility to Broadway, to the audiences, and, frankly, in this economy, to the city.”Management and labor are trying to ward off a strike by pit musicians, which would cripple, but perhaps not halt Broadway musicals. Broadway producers have all along contended that they are prepared to employ so-called "virtual orchestras" to keep their shows going, should musicians walk out. Most musical productions currently on Broadway rehearsed with technological music-makers this week.Throughout the talks, the issue of minimums has been the battle cry of both sides. Minimums are the number of musicians the union contract mandates producers hire for each show. This sometimes results in one or more union members being paid, but not used. The union maintains the statute is needed to prevent producers from dictating orchestral needs, such as using synthesizers or two pianists in lieu of a full orchestra. But producers have labeled it "featherbedding" and charged that composers and orchestraters, not the union, should dictate the makeup of a pit. (The union countered with a petition signed by many leading composers and music directors stating they were in favor of minimums.)In recent days, there has been talk on both sides of a possible compromise, where the minimums would not be eliminated, but the number of required musicians reduced."
JJM
Légère Artist
Clark W. Fobes Artist
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Author: John J. Moses
Date: 2003-03-03 12:36
Word from our negotiating committee:
" As some of you may have already heard on the news, we have set a strike deadline for this Thursday night at midnight. We decided on that date to give us time to alert and confer with the other unions (COBUG & Equity), and give more time to reach an agreement.
After a very long weekend of negotiations, we are still miles apart. We have formulated a tentative agreement on Special Situations that has, I believe, addressed the issues that the prods found problematic, mainly language, and panel of neutrals issues. I can be more specific if you like, but quite frankly I'm too tired to go into it at the moment. After negotiating with them from 10:30AM until 4:00 this morning to hammer out said agreement, they then proceeded to offer a proposal which dictated 7 musicians at all the big houses and 0 at the remaining houses. Needless to say, I didn't take it very well. Infuriated at their insulting proposal after all that work, we ended the session. We met with them again in the early afternoon, but because of the nature of their proposal, it could not be addressed, so we didn't. At 7PM we met yet again because they wanted to offer another proposal. By then the media got wind of the strike deadline. Because they weren't told first they became angry and went home. We and the League each had a press conference afterwards to clear the air with the media.
At the moment, there are no meetings scheduled but that will change by Tuesday, maybe even by tomorrow. Be aware that drastic measures may need to be taken and our unity and solidarity with the other unions are more important now then ever before. The meeting on Saturday showed all of us just how strong and united we are as a union. It is imperative that strength does not wane. I'll be in touch. "
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Peter
Date: 2003-03-03 14:14
What David just said goes for me as well.
My most fervent hope is that music on Broadway doesn't follow in the steps of the air traffic controllers and Eastern Airlines.
While I can see the trouble giving in would cause the union and its membership (and the unfairness of the "0" musicians proposal in the smaller houses,) I can't help but to note that during the last few decades some major unions have screwed themselves and their membership out of a future...
Reagan set the stage for all this with his handling of the air traffic controllers strike, for those who might remember. Since then, unions have lost the power to overwhelm, even in places like NY.
I was a union man once upon a time, in NY, but in Florida, unions have no power, as it is a "right to work" state and the authorities won't support a picket line.
It is said that the difference between NY and Florida is that in NY, they take a college grad engineer, title him mechanic and put him to work for a hundred grand a year. In Florida, they take a mechanic, title him engineer and put him to work for minimum wage. It's kind of like a hick town with electric lights.
The saddest part of the story is that just as Frank Lorenzo made a couple of hundred million $s out of the union's major contribution to Eastern Airlines' eventual bankruptcy, the theatre owners on Broadway are going to make a bundle off of the strike unless the fickle public supports the union by returning their tickets and refusing to see shows powered by canned orchestras when they were charged for live music.
Each and every time a show goes on with canned music due to the strike theatre owners will be able to count the wages saved as profit. The greatest loss will be to the musicians, who won't be able to support their families, especially in the present NY economy and might not even be able to acquire other work very easily.
And with canned music, there are no scabs to repell, as it were, so who do you fight on the picket line? People who don't care? To whom the strike might be a convenient happening?
I have my fingers crossed on this one.
Peter
Post Edited (2003-03-03 18:59)
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Author: William
Date: 2003-03-03 15:40
Good luck if your strike becomes necessary. And no matter how much I would like to play a Broadway show, my services as a substitute musician will not be available should I "get a call" during your job action. Unlikely (I know) for a Wisconsin musician to get a "call" from NYC, but I hope all other "more available" local musicians will support your Broadway efforts as well by refusing to "fill in" for you regulars. Live music for all of us is really "on the line" here and we all need to stick together. If I were closer, I'd be out there carrying a sign with the rest of you.
GOOD LUCK!!!!!
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Author: Mitch K.
Date: 2003-03-03 15:50
Is this all affecting other, non-Broadway musicians as well? Are the symphony orchestras and opera pits going to strike also? (I don't know if you're all in the same Local or not.)
Mitch King
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Author: msloss
Date: 2003-03-03 16:47
http://www.nytimes.com/2003/03/03/nyregion/03MUSI.html
New article in the NY Times.
William, none of us in the area would cross the picket lines, but that isn't even an option. The shows have been trying to rehearse with the VOs, which says that they won't even try to hire scabs.
We are coming to an interesting point in the history of Broadway if 802 strikes. Either the producers will continue to fill the theatres with satisfied audiences playing tape, synthesizers and VOs, which would be disastrous but highly improbable, or audiences will get a taste of life without live music, and scream bloody murder.
This is going to have a ripple effect across the music biz, so hang on for a bumpy ride.
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