"League officials said that the current contract was far out of line with industry practices in the rest of the country and that they would not sign another one with these provisions."
This doesn't exactly sound like something I'd be bragging about. Imagine a stagehand anywhere seeing this contract detailed for the first time. If the stagehands in NYC have provisions that protect crew size, that have provisions that protect the safe operation of the theatre, that have a viable middle class wages with benefits and I was a stagehand at a venue in a smaller market and I didn't have these things, I'd be pretty honked off. Right to work state or not, ticket prices aren't scaled back that far in most of these tour barns. What do you mean I can't have what the Local One in New York City has? Why the hell not? I’m doing the same work and you’re charging New York prices. The lowest guy makes $1200 a week and I’m making $800 for the same hours? Screw you! Overtime after eight. You bet. You mean that they can’t break the yellow card early? I want that. An extra hour just to mop and so we don’t have to do preset on a wet deck? Not anymore! And they’re getting all that support from the other unions. Maybe I’ll go talk to the Equity deputy and the musicians and see what we can do together”
The League may have just set its world on fire.
Wednesday, November 14, 2007
Tuesday, November 13, 2007
Clearly Channeling a lot of crap.
From Boston.com comes a story that is sounding a little familiar.
"For 34 years, Bill Trowbridge was a sign hanger, one of those guys who puts up billboards."
"Five years ago, the media conglomerate Clear Channel bought the company and tried to make a profitable business more profitable. They offered buyouts that cut the 48 employees in Local 391 of the sign workers in half. But that wasn't enough.
Last March, Clear Channel told the remaining workers that they were unilaterally changing their hours, wages, and benefits. Men who were making $24 an hour, working a 40-hour week, were told they would be paid $15 per sign and would have to hustle to do as many signs as they could, safety be damned, with work hours set arbitrarily by management."
In 2004, the AFL-CIO commissioned a report on Clear Channel by Cornell University, It said, "The study also details at length Clear Channel’s growing web of influence in the political arena, a troubled history of adversarial labor relations and pattern of scofflaw behavior that has resulted in Clear Channel being sanctioned by federal and state agencies. Chelli Penigree, president of Common Cause, singled out the report’s examples of the Clear Channel money trail “which details a carefully crafted, money-driven development of insider connections not only with George W. Bush but with the rest of the Republican-controlled federal government as well.”
The entire report can be found at Clear Channel Final Report. In the Labor Relations section on Page 28, it says that "Clear Channel's business model is based on providing low cost media and entertainment services. The company typically seeks overall labor reductions by consolidating operations and eliminating positions, introducing labor saving technologies, concessionary bargaining with unions, and even pursuing union decertification. These strategies have a negative impact on employment and labor standards in the industry segments where the company operates. "
Are you a Springsteen fan? You won't hear his new album on a Clear Channel. From Fox News. "Bruce Springsteen should be very happy. He has the No. 1 album, a possible Grammy for Best Album of the Year for "Magic," an album full of singles and a sold-out concert tour.
Alas, there’s a hitch: Radio will not play "Magic." "In fact, sources tell me that Clear Channel has sent an edict to its classic rock stations not to play tracks from "Magic." But it’s OK to play old Springsteen tracks such as "Dancing in the Dark," "Born to Run" and "Born in the USA." He's being "Dixie Chicked"
What;s this to do with our little set to? Want to know who's driving this bus? IBDB has the list of shows Clear Channel has done on Broadway, either it or SFX. The SFX that was started by, sold by and bought back at fire sale terms by,Bobby Sillerman. NYT. "Grosses? You don't need no stinkin grosses." This from the NY Times article about the sale. "David Miller, an analyst at Sanders Morris Harris, said the executives had stated on conference calls and in visits with investors that "they were committed to the entertainment business for the long term."Mr. Miller added that "ultimately, what did them in is, the Clear Channel Entertainment brand name doesn't hold a lot of good will in the live entertainment community." This guy Miller has a degree in understatement.
My guess that Clear Channel is quite comfortable with fellow Texan, Charlotte, fronting for them. And just as comfortable that we're out on the street.
"For 34 years, Bill Trowbridge was a sign hanger, one of those guys who puts up billboards."
"Five years ago, the media conglomerate Clear Channel bought the company and tried to make a profitable business more profitable. They offered buyouts that cut the 48 employees in Local 391 of the sign workers in half. But that wasn't enough.
Last March, Clear Channel told the remaining workers that they were unilaterally changing their hours, wages, and benefits. Men who were making $24 an hour, working a 40-hour week, were told they would be paid $15 per sign and would have to hustle to do as many signs as they could, safety be damned, with work hours set arbitrarily by management."
In 2004, the AFL-CIO commissioned a report on Clear Channel by Cornell University, It said, "The study also details at length Clear Channel’s growing web of influence in the political arena, a troubled history of adversarial labor relations and pattern of scofflaw behavior that has resulted in Clear Channel being sanctioned by federal and state agencies. Chelli Penigree, president of Common Cause, singled out the report’s examples of the Clear Channel money trail “which details a carefully crafted, money-driven development of insider connections not only with George W. Bush but with the rest of the Republican-controlled federal government as well.”
The entire report can be found at Clear Channel Final Report. In the Labor Relations section on Page 28, it says that "Clear Channel's business model is based on providing low cost media and entertainment services. The company typically seeks overall labor reductions by consolidating operations and eliminating positions, introducing labor saving technologies, concessionary bargaining with unions, and even pursuing union decertification. These strategies have a negative impact on employment and labor standards in the industry segments where the company operates. "
Are you a Springsteen fan? You won't hear his new album on a Clear Channel. From Fox News. "Bruce Springsteen should be very happy. He has the No. 1 album, a possible Grammy for Best Album of the Year for "Magic," an album full of singles and a sold-out concert tour.
Alas, there’s a hitch: Radio will not play "Magic." "In fact, sources tell me that Clear Channel has sent an edict to its classic rock stations not to play tracks from "Magic." But it’s OK to play old Springsteen tracks such as "Dancing in the Dark," "Born to Run" and "Born in the USA." He's being "Dixie Chicked"
What;s this to do with our little set to? Want to know who's driving this bus? IBDB has the list of shows Clear Channel has done on Broadway, either it or SFX. The SFX that was started by, sold by and bought back at fire sale terms by,Bobby Sillerman. NYT. "Grosses? You don't need no stinkin grosses." This from the NY Times article about the sale. "David Miller, an analyst at Sanders Morris Harris, said the executives had stated on conference calls and in visits with investors that "they were committed to the entertainment business for the long term."Mr. Miller added that "ultimately, what did them in is, the Clear Channel Entertainment brand name doesn't hold a lot of good will in the live entertainment community." This guy Miller has a degree in understatement.
My guess that Clear Channel is quite comfortable with fellow Texan, Charlotte, fronting for them. And just as comfortable that we're out on the street.
Monday, November 12, 2007
Tiger's heart wrapped in a Player's hide.
The labor dispute on Broadway reveals again just how far we as a society have gone from in putting the needs of the moneyed ahead of all else. The wealthy piously speak of a need to get a good return on their investment at the expense of the society around them and demand that this outlook should form our own. We are told that our core as humans is about commerce rather than community.
What is art? Is it an experience or an investment? The actors in The Lord Chamberlain's Men had shares in the company. Did they create Shakespeare’s greatest plays for profit or the joy of storytelling? Did Pirandello take over the Teatro d'Arte di Roma because he was a Fascist or because Fascism and Mussolini allowed him his self-expression?
Bertolt Brecht believed that it was the duty of theatre to educate. "It is the noblest function that we have found for 'theatre'". He wrote "The Rise and Fall of the City of Mahagonny" because he thought operas had become too full of ritual and bereft of substance. Yet could he have come to that conclusion if he had not lived in decadent Weimar Germany? Could he have survived in East Germany if he did not have the income from the Berliner Ensemble?
Who will inherit the mantle of O’Neill, Miller, Mamet or Shepard, the hard, American playwrights? What investor will step forward and say that the duty of theatre is to teach and create a collective experiment for both the artist and audience? We have our own wars, dispossessed populations, people making hard choices about family and life and death. Who is telling those stories? And why aren’t people watching? Or is that they simply cannot find an outlet?
I would be a lot more willing to make the sacrifices that I’m being told to make if the stories that were being told had meaning beyond a return on an investment. If audiences came out of the theatre with a different outlook on life instead of with a smile and some merchandise, then I could feel that I’m involved with something resembling art.
I’ll help sell your tickets and help promote your entertainment but your cause is not my cause. You may hire me as and consider me to be no more than menial labor but I spend far more time in a playhouse than you and consider its forms. This is my home and I have seen the power of the performance so ephemeral that it disappears with the first burst of applause. I've felt the audience respond with rapt attention and an explosion of joy.
The power of the art form is in the message not the profit. Speaking for myself, your cause is not my cause.
What is art? Is it an experience or an investment? The actors in The Lord Chamberlain's Men had shares in the company. Did they create Shakespeare’s greatest plays for profit or the joy of storytelling? Did Pirandello take over the Teatro d'Arte di Roma because he was a Fascist or because Fascism and Mussolini allowed him his self-expression?
Bertolt Brecht believed that it was the duty of theatre to educate. "It is the noblest function that we have found for 'theatre'". He wrote "The Rise and Fall of the City of Mahagonny" because he thought operas had become too full of ritual and bereft of substance. Yet could he have come to that conclusion if he had not lived in decadent Weimar Germany? Could he have survived in East Germany if he did not have the income from the Berliner Ensemble?
Who will inherit the mantle of O’Neill, Miller, Mamet or Shepard, the hard, American playwrights? What investor will step forward and say that the duty of theatre is to teach and create a collective experiment for both the artist and audience? We have our own wars, dispossessed populations, people making hard choices about family and life and death. Who is telling those stories? And why aren’t people watching? Or is that they simply cannot find an outlet?
I would be a lot more willing to make the sacrifices that I’m being told to make if the stories that were being told had meaning beyond a return on an investment. If audiences came out of the theatre with a different outlook on life instead of with a smile and some merchandise, then I could feel that I’m involved with something resembling art.
I’ll help sell your tickets and help promote your entertainment but your cause is not my cause. You may hire me as and consider me to be no more than menial labor but I spend far more time in a playhouse than you and consider its forms. This is my home and I have seen the power of the performance so ephemeral that it disappears with the first burst of applause. I've felt the audience respond with rapt attention and an explosion of joy.
The power of the art form is in the message not the profit. Speaking for myself, your cause is not my cause.
Saturday, November 10, 2007
We will do whatever it takes for as long as it takes.
Solidarity
That's not just a word to the Broadway theatrical community. For the second time in this decade, we have felt it and lived it. And each time that solidarity is tested, we become stronger for it, individually and as a community. You, the Producer, do this. We rediscover that part of the human spirit that we have been alienated from, the power of the group, the tribe, the union. This is a sense that can only be found during times of mutual trial.
Today started with a sense of solemn commitment. We were beginning a course of action that was not one we chose but rather one that was forced upon us. There were no cheers when the crews walked out of their theatres. There were no cheers when those out on the street refused to pick up their tools and instead picked up picket signs. We had to break our first commandment, “the show must go on.”
It was a trial. As a group, we had to call on those skills most commonly found inside of the theatre, not outside of one. We had to organize ourselves into action, with an aim and a goal. The groundwork had been laid and we had been given our new tools but we had to learn how to really use them. Some started to walk right away and some defiantly stood their ground. Through the long morning and afternoon some of us discovered we had not dressed warmly enough. All of us have worked in the cold, the heat, and the rain so weather is not something we are unaccustomed to. We just need to be prepared. Some of use got foot weary. All of us have spent hours upon hours on our feet, in grids, on trucks, on studio floors. This not something we are unaccustomed to. We just need to be prepared. Now we know what to expect. It will be like any long load-in, hour upon hour on our feet, in the cold. This not something we are unaccustomed to.
The late afternoon was the hardest. We were alone on the line. We were tired, cold, sore and determined.
Then they started to arrive. The other members of our theatrical community joined us on the line and spirits lifted. Where there were a few determined people trudging along, now there were many. Now there was cheering when passing cars honked in support. Matrons of a certain age, union members for decades, carried signs and smiled. House Managers, Box Office Personnel, Chorus Members, Dancers, Actors, Musicians, union members all, walked and carried signs in support of our common struggle. And we did what we knew best. We had a big finish.
You have united us as a community.
We will do whatever it takes for as long as it takes. This not something we are unaccustomed to. We’ve put your shows on. We have worked long hours and not seen home but briefly, for weeks at a time. Sacrifices come with the entrance into this community. Sacrifices you now seem to be unaware of but we know intimately. And now that common strength is united against you and we will not fail.
We will do whatever it takes for as long as it takes.
That's not just a word to the Broadway theatrical community. For the second time in this decade, we have felt it and lived it. And each time that solidarity is tested, we become stronger for it, individually and as a community. You, the Producer, do this. We rediscover that part of the human spirit that we have been alienated from, the power of the group, the tribe, the union. This is a sense that can only be found during times of mutual trial.
Today started with a sense of solemn commitment. We were beginning a course of action that was not one we chose but rather one that was forced upon us. There were no cheers when the crews walked out of their theatres. There were no cheers when those out on the street refused to pick up their tools and instead picked up picket signs. We had to break our first commandment, “the show must go on.”
It was a trial. As a group, we had to call on those skills most commonly found inside of the theatre, not outside of one. We had to organize ourselves into action, with an aim and a goal. The groundwork had been laid and we had been given our new tools but we had to learn how to really use them. Some started to walk right away and some defiantly stood their ground. Through the long morning and afternoon some of us discovered we had not dressed warmly enough. All of us have worked in the cold, the heat, and the rain so weather is not something we are unaccustomed to. We just need to be prepared. Some of use got foot weary. All of us have spent hours upon hours on our feet, in grids, on trucks, on studio floors. This not something we are unaccustomed to. We just need to be prepared. Now we know what to expect. It will be like any long load-in, hour upon hour on our feet, in the cold. This not something we are unaccustomed to.
The late afternoon was the hardest. We were alone on the line. We were tired, cold, sore and determined.
Then they started to arrive. The other members of our theatrical community joined us on the line and spirits lifted. Where there were a few determined people trudging along, now there were many. Now there was cheering when passing cars honked in support. Matrons of a certain age, union members for decades, carried signs and smiled. House Managers, Box Office Personnel, Chorus Members, Dancers, Actors, Musicians, union members all, walked and carried signs in support of our common struggle. And we did what we knew best. We had a big finish.
You have united us as a community.
We will do whatever it takes for as long as it takes. This not something we are unaccustomed to. We’ve put your shows on. We have worked long hours and not seen home but briefly, for weeks at a time. Sacrifices come with the entrance into this community. Sacrifices you now seem to be unaware of but we know intimately. And now that common strength is united against you and we will not fail.
We will do whatever it takes for as long as it takes.
Friday, November 9, 2007
I are a riter.
Those Left Coast folks sure can go out on strike good. Websites, podcasts, Youtube, so cool.
Actually this dispute is doing a great deal of good for organized labor. These highly creative types are using every available media to get their message out and I think the rest of us can take quite a few lessons from them. As someone who has just started blogging (learning to create a link was a big deal), their use of podcasts to just talk about the reasons for the strike, their use of Youtube to show off the real people behind the dispute and even graphics to reveal arcane financial information is terrific.
To help understand the basics behind the dispute, go to Why We Fight and don't miss the Frank Capra reference in the title.
For information from Hollywood picket lines (and all you favorite stars), go to United Hollywood an unofficial blog started by a group of strike captains from the WGA.
And for a very human look at writing in Hollywood and television, go to the samandjimgotohollywood and listen to the entire podcast Show #35 because they reference the recent rallies, being conservative, scabs, residuals.
Many of my Brothers and Sisters in IATSE are losing quite a bit of work because the strike but I think I speak for any union worker in this country. Any group of people that are risking their livelihoods in order to improve their voice at work, deserve to be supported. There are new ways to help spread the union message and we have to use all of them, all the time.
Thanks WGA, your fight is our fight.
Actually this dispute is doing a great deal of good for organized labor. These highly creative types are using every available media to get their message out and I think the rest of us can take quite a few lessons from them. As someone who has just started blogging (learning to create a link was a big deal), their use of podcasts to just talk about the reasons for the strike, their use of Youtube to show off the real people behind the dispute and even graphics to reveal arcane financial information is terrific.
To help understand the basics behind the dispute, go to Why We Fight and don't miss the Frank Capra reference in the title.
For information from Hollywood picket lines (and all you favorite stars), go to United Hollywood an unofficial blog started by a group of strike captains from the WGA.
And for a very human look at writing in Hollywood and television, go to the samandjimgotohollywood and listen to the entire podcast Show #35 because they reference the recent rallies, being conservative, scabs, residuals.
Many of my Brothers and Sisters in IATSE are losing quite a bit of work because the strike but I think I speak for any union worker in this country. Any group of people that are risking their livelihoods in order to improve their voice at work, deserve to be supported. There are new ways to help spread the union message and we have to use all of them, all the time.
Thanks WGA, your fight is our fight.
Thursday, November 8, 2007
Who's Driving This Bus?
According to a Crain's New York article about Charlotte St. Martin the head flack for the League of American Theatres and Producers, she is bewildered and surprised.
“I am surprised that with the number of hours we’ve been at the table together, we haven’t made more progress in really developing a new contract that’s more representative of business conditions today,”
So are the stagehands.
“[We] are trying to improve the future of the health of the industry so Broadway will continue to survive in times that aren’t as healthy as today,” Ms. St. Martin said. “When you fill as many seats as we’re filling and still have losses every night, you have to have new business conditions.”
Now the problem is the new business conditions (don't look at the grosses) and not the lack of quality scripts.
So the PR campaign has taken a new tack. The League of American Theatres and Producers is trying to save the industry from it's own success. Let me see if I can get this straight. Times are good so Local One and the theatrical unions have to tighten our belts so that when times are bad, Local One and the theatrical unions can tighten our belts. And you're surprised that the League hasn't made more progress at the table?
An insight into the lack of awareness that the Producers have about the day to day workings of a theatre can be found in a CNN transcript of an interview with Jonathan Tisch chairman of the Loews Hotel chain and Ms St. Martins former boss.
He spent a couple of days working in one of his hotels for a short lived TLC show called "Now Who's Boss? Should Ms. Martin have been paying attention she might have gotten some insight into the inner working of show business. The show only lasted for 5 episodes. Hello Unemployment. I can only presume they cleared the illegals out of the hotel before the TV crew got there.
"TISCH: One of the reasons I wanted to do the show was to have a better understanding of something that I knew already, which is the concept that our employees are more responsible for our success as a hotel company than in many ways I am. So to go down there, and having done the housekeeping position, and look at the 35 individuals who do this every single day on a particular shift, and also to understand that they're from 12 different nations, they speak six different languages, and somehow every single day this has to come together to turn over an 800-room hotel, and make the beds and clean the bathrooms. So I just wanted to tell them that I appreciate what they do."
I suggest that Ms. St Martin, the investors and the producers jump in on the next load-in. "Hey Charlotte, take off your heels and drop these points from the grid." 'Hey Trust Fund Baby, run these feeders from the basement to the jump and make it neat." "Yo, Max Bialystock, the trucks are here."
“I am surprised that with the number of hours we’ve been at the table together, we haven’t made more progress in really developing a new contract that’s more representative of business conditions today,”
So are the stagehands.
“[We] are trying to improve the future of the health of the industry so Broadway will continue to survive in times that aren’t as healthy as today,” Ms. St. Martin said. “When you fill as many seats as we’re filling and still have losses every night, you have to have new business conditions.”
Now the problem is the new business conditions (don't look at the grosses) and not the lack of quality scripts.
So the PR campaign has taken a new tack. The League of American Theatres and Producers is trying to save the industry from it's own success. Let me see if I can get this straight. Times are good so Local One and the theatrical unions have to tighten our belts so that when times are bad, Local One and the theatrical unions can tighten our belts. And you're surprised that the League hasn't made more progress at the table?
An insight into the lack of awareness that the Producers have about the day to day workings of a theatre can be found in a CNN transcript of an interview with Jonathan Tisch chairman of the Loews Hotel chain and Ms St. Martins former boss.
He spent a couple of days working in one of his hotels for a short lived TLC show called "Now Who's Boss? Should Ms. Martin have been paying attention she might have gotten some insight into the inner working of show business. The show only lasted for 5 episodes. Hello Unemployment. I can only presume they cleared the illegals out of the hotel before the TV crew got there.
"TISCH: One of the reasons I wanted to do the show was to have a better understanding of something that I knew already, which is the concept that our employees are more responsible for our success as a hotel company than in many ways I am. So to go down there, and having done the housekeeping position, and look at the 35 individuals who do this every single day on a particular shift, and also to understand that they're from 12 different nations, they speak six different languages, and somehow every single day this has to come together to turn over an 800-room hotel, and make the beds and clean the bathrooms. So I just wanted to tell them that I appreciate what they do."
I suggest that Ms. St Martin, the investors and the producers jump in on the next load-in. "Hey Charlotte, take off your heels and drop these points from the grid." 'Hey Trust Fund Baby, run these feeders from the basement to the jump and make it neat." "Yo, Max Bialystock, the trucks are here."
Friday, November 2, 2007
No Moving Lights, No Tony
WARNING: If you think that a moving head is the same as a bobble head, you may not want to continue reading this post.
Part of the misinformation campaign that the League has waged is to take proposals about staffing and twist them out of context in order to make Local One look like a bunch of fat, lazy, union guys out to that do nothing and get over-paid for it. Granted there is a kernel of truth in it. The percentage of people who work like that tends to be universal. Theatre management is not immune to the person who drifts through work, having little ambition and taking up space.
One of the most convoluted of these issues is the one where "In some instances up to three electricians have operated the board that controls light, projection and sound cues -- a job that can be handled by one electrician." Ignoring for the moment that this is a work rule the League already has, consider what kind of machine is that can do all these things. Lighting, projection and sound. For somebody who started in the business when rotary dimmers and 6x9 Lekos were the norm, I stand in awe at these what has happened in the course of my career in terms of technology.
When "Chorus Line" opened in 1975, Tharon Musser was the first to bring a computer board to Broadway to control lighting cues. When Vari-lites first came out, their proprietary systems were so protected that techs had to open them up and work on them under a sheet or drop in order to keep prying eyes away.
In today’s world lighting designers say "no moving lights, no Tony." Everyone who has read this far has seen a Vari-Lite in action even if they don't know the proper name for them. But far fewer are aware of the newest equipment that this contract issues revolves around.
The extraordinary High End Systems has a line of units that are outstanding. The DL-2 digital lighting unit that has enormous capability. I won't go into the details but it lights, it projects, it sees in the dark and it can record video. High End also has a terrific range of other products such as the Whole Hog 3 board and the Showgun luminaries.
There are some terrific Strand boards that are radically different from the the older boards. There is also a line of LED washes from Color Kinetics that can create milions of colors and consume very little electricity. The Color Blast and the Color Blaze line are really going to change the future of theatrical lighting.
It takes a pretty sophisticated programmer and operator to be able to do all this and the Local has several. This is the future and we, as stagehands, embrace it. So when you hear the Producers complain about costs, look at the type of equipment we run and the dollars that this equipment and its operators earn them.
Part of the misinformation campaign that the League has waged is to take proposals about staffing and twist them out of context in order to make Local One look like a bunch of fat, lazy, union guys out to that do nothing and get over-paid for it. Granted there is a kernel of truth in it. The percentage of people who work like that tends to be universal. Theatre management is not immune to the person who drifts through work, having little ambition and taking up space.
One of the most convoluted of these issues is the one where "In some instances up to three electricians have operated the board that controls light, projection and sound cues -- a job that can be handled by one electrician." Ignoring for the moment that this is a work rule the League already has, consider what kind of machine is that can do all these things. Lighting, projection and sound. For somebody who started in the business when rotary dimmers and 6x9 Lekos were the norm, I stand in awe at these what has happened in the course of my career in terms of technology.
When "Chorus Line" opened in 1975, Tharon Musser was the first to bring a computer board to Broadway to control lighting cues. When Vari-lites first came out, their proprietary systems were so protected that techs had to open them up and work on them under a sheet or drop in order to keep prying eyes away.
In today’s world lighting designers say "no moving lights, no Tony." Everyone who has read this far has seen a Vari-Lite in action even if they don't know the proper name for them. But far fewer are aware of the newest equipment that this contract issues revolves around.
The extraordinary High End Systems has a line of units that are outstanding. The DL-2 digital lighting unit that has enormous capability. I won't go into the details but it lights, it projects, it sees in the dark and it can record video. High End also has a terrific range of other products such as the Whole Hog 3 board and the Showgun luminaries.
There are some terrific Strand boards that are radically different from the the older boards. There is also a line of LED washes from Color Kinetics that can create milions of colors and consume very little electricity. The Color Blast and the Color Blaze line are really going to change the future of theatrical lighting.
It takes a pretty sophisticated programmer and operator to be able to do all this and the Local has several. This is the future and we, as stagehands, embrace it. So when you hear the Producers complain about costs, look at the type of equipment we run and the dollars that this equipment and its operators earn them.
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