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.

Darpa Geek Stuff

Tomorrow is Darpa's Urban Challenge, a race designed for autonomous vehicles. The vehicle must complete a 60 mile closed course in six hours, following California traffic laws and mixing with 50 human driven traffic.


“Vehicles competing in the Urban Challenge will have to think like human drivers and continually make split-second decisions to avoid moving vehicles, including robotic vehicles without drivers, and operate safely on the course. The urban setting adds considerable complexity to the challenge faced by the robotic vehicles, and replicates the environments where many of today’s military missions are conducted.”

-Dr. Norman Whitaker, Urban Challenge Program Manager

Wired has been covering the run up to the race in it's Danger Room blog.

I love this kind of stuff. The entertainment business has gotten technologically more complex and computer driven. Many stagehands now come into the business with a love of spectacle and technology and are terrific engineers and programmers.

The race will be webcast, starting at 7:30 AM, PST.

Accidents as a way of life

I like to read Roadie.net because it's a look into life on the road and it's a little different world than Broadway. We do exactly the same things(set up stages, lighting, sound) and often in the same kind of lousy weather. However in NYC, we (the local crew) get off work, get on public transportation and sleep in our own beds. The roadies live their lives from arena to hotel to the bus and back.

One of the things often overlooked in the recent dispute with the League is the quality of the Local One crews. Since we do this work regularly, incessantly, we're pretty damn good at it and pretty fast. It's that whole NY minute thing. And we're safe at it. I recently spoke with a Onesie who is out of town. He told me that he was appalled that the Local Crew he was working on took 4 hours to set up part of an opera. "It would have taken an hour at the State and we would have gotten yelled at for taking to long!" Opera is a way of life in NYC. Not so much in other places, so it takes a little longer.

Rarely do we have problems like the canopy collapse at the Akon concert at Emory. In reading the blog about it on Roadie.net, it seem that this is the second time in two years that this has happened to this particular company.

In Spain, three stagehands are killed in a collapse at a Stones concert.

And for anyone who deals regularily with issues of public assembly, be it backstage or FOH, this Great White Fire video should be required viewing at least once a month, as a refresher. It's long and very difficult to watch so be forewarned. Go to the second entry for a link that skip the pop-ups.

In Local One, we've had our share of accidents, regretfully. Most can't be avoided. The causes can vary from exhaustion to carelessness to poor planning. We work to avoid them. The premise is that if I look out for my coworker, they will look out for me. This still holds true for us.

One other place I recommend is Bill Sapsis's site. Devoted to riggers, it promotes safety and technology.

Pigs, Lipstick, Producers and the Press

In The Playgoer post about Linda Winer’s complaint about the Producers of “Walmartopia” and "Grease" pulling quotes, he cites a made up word to describe the situation, contextomy. Here is an example of just what I was describing in my previous post about the stagehands that complain about the press publishing the “lies” that the League of American Theatres and Producers are putting out about Local One without the context. Readers tend to accept on the surface what is printed or published but when a writer is personally involved, they’re shocked that the news bears little semblance to the truth. The Critics Circle wants to create a “commission” to research ethical breaches in the area of theatre reviews. A lot of research has already been done about the whole lack of quality journalism at FAIR or Project Censured. I would suggest that Howard Kissel, who is to run the Commission, start searching for ethical breaches on the front page and work his way back to the sports pages.

Swiftboating On Broadway

Regularly, in discussing the contract dispute with my fellow stagehands, I’m always startled when they complain of what they view as the lies being put out by the League of American Theatres and Producers. I respond by saying that if this is how your story is being reported in the mainstream press, a story that you know more intimately than any casual reader, imagine that this is happening with every story that they read in the press. The supposed facts are being twisted and the Local One is being cast in the worst possible light. Now imagine someone in each story is being demonized for the benefit of someone else’s purpose.

In today’s parlance it’s called “swift boating”.

After a political group attacked John Kerry’s military record and evoked the turmoil of the Viet Nam war era by using carefully chosen words and phrases designed to cast him in the worst possible way, Kerry’s campaign was over. The mainstream media simply went along because they had been cowed with a similar campaign painting them as having a “liberal bias.” Now, instead of having reporters skeptically asking their sources if the information is true, the vast majority of reporters will passively accept what is given them and pass it along as information. I worked for the better part of a decade at a major television network and saw this process from the inside.

Anyone who has seen their job “outsourced” or “downsized” or tried to preserve their benefits, will recognize the public relations playbook being used by the League. The carefully constructed phases have been tested in focus groups to create powerful negative images. They have dragged out “featherbedding”. They have used “archaic work rules”, “most highly paid”, “fair and balanced”, “at this critical time”, “no work, no pay”, “pay even more people to do nothing”, “hire people who don't do work”, “fair work practices”, “people who don't do work” and more. Bearing little resemblance to the actual facts, these phrases evoke a workplace of big-bellied white guys with their knuckles dragging on the floor that are keeping the poor investors from getting a good return on their money. Not a word is spoken of the skill it takes to create the illusion that is theatre eight shows a week. Nor any reference to the endurance of working eight to midnights for weeks at a time in order to get the show ready for first preview. Not a word is spoken about the time away from the family or working nights, weekends and holidays to get the show on.

But we in IATSE knew that these are the work conditions when we went into this business. We’ve adapted and embraced technology that reduces manpower but creates better illusions the audience demands. Many of these same work rules have been agreed to over the years because both sides recognized that this was a unique business that attracted a unique cast of characters.

What’s forgotten in the demonizing is that in the days following September 11th, when there was smoke still hanging in the air and Times Square was empty, this Local took a 25% pay cut in order to keep shows running. Now with the houses full and every house booked the League of American Theatres and Producers wants us to take a permanent 38% pay cut.

Now I know how Max Cleland felt.

New Rules

So the "new rules" have been implemented and the world as we stagehands know it has not stopped spinning on it's axis. From what I've seen they're more about petulance than productivity. The guy who mops gets a cut in pay for an hour. The crews can't leave until checking with Stage Management to find out if there is "something broken". The provided lunch may consist of cold pizza. In some houses, the stagehands have to stay until the end of their call no matter how long the show has been over. "Post show work, don't need it to make you stay. Stay here until I tell you to go."

Here's Playbills article about the newly imposed work rules. Read this and decide if any of this is worth going to war over.

http://www.playbill.com/news/article/112142.html


Anyone who has been involved with "downsizing" is familiar with the routine. Some MBA decides that the old rules are "archaic" and "inefficient" and sets about letting the market decide what's the best, new, modern way to run things. In what Joseph Schumpeter, in 1942, described as "creative destruction" a brilliant entrepreneur introduces innovation and casts aside the former giants because this will cause innovation and economic development, or as least as it is taught at Wharton and Harvard Business School. Jack Welsh, a demigod in the today's business pantheon, once said that, if he had his way, all the GE factories would be put on rafts and floated to where ever labor was cheapest. You see it's for the benefit of the investor. A modern company doesn't exist to sell products or be part of the community. It exists in order to return a profit for the investor. The investor is the key component here, the raison d'être. Kissinger used this term in one of his books to describe Cardinal Richelieu’s foreign policy in which a State acts solely in its own best interests. Here the Corporation does the same. Richelieu didn’t think the state was comprised of its people but rather of its leaders. Today the Corporation does the same.

The League of American Theatres and Producers has its raison d'être. Not to assist in creating art but to sell tickets. To sell tickets quickly in order to return profit sooner to the investors. The New Broadway Order will stop at nothing in order to accomplish this. So get used to this. The Theatrical Syndicate maintained a chokehold on this industry until the Shubert Brothers used some creative destruction to stop them. Now it’s going to be used on the Shuberts and on the working people who have benefited from the rather comfortable system the Theatre Owners have set up. The other IATSE Theatrical Locals will be next. Then Equity. And then they will turn on the Theatre Owners.

Après moi le deluge.

Class Struggle, The Post and Oxymorons

From Michael Reidel’s COST OF CLASS STRUGGLE column in the Post.

If class struggle is being mentioned in The Post, odds are the result will be at best, inane.

Rich people can be awfully sentimental about the working classes.

Actually, Mike, rich people think the working classes suck. They don’t want their smelly factories in their hometowns so they ship those nasty, damn things and their crummy unions off to overseas. There our little brown and yellow skinned friends can work in the smelly factories and become consumers themselves. The rich have convinced themselves that they have their own economy, the financial economy, separate from everyone else’s and that theirs is the ultimate expression of American might. Wait, Americanism is déclassé. Real people, our people, the wealthy, are citizens of the world, multinationals, whose expression is the ultimate example of the might of wealth. Our wealth.

Broadway has turned its back on the working and middle classes.

Again, Mike, not so much. Broadway has never really embraced the working and middle class. As a stagehand I've studied this a bit. Vaudeville and burlesque were it entertainment for the masses. Then radio and film. Then television. Now it’s the Internet. To say Broadway has turned it’s back on the working and middle class is like saying the Metropolitan Opera turned it’s back on the same audience. They were never invited to the party in the first place. The fact that the grosses on Broadway have risen so high speaks to the rise of tourism in Times Square and the loss of elitism on Broadway. An elitism the League of American Theatres and Producers is marketing and cheapening at the same time. Broadway is becoming more common rather than less. The aspiration of the middle class for an exposure to culture is main factor driving greater attendance. However, the topicality of the productions also speaks to that lack of understanding of the power of theatre.

The majority of US soldiers killed in Iraq are from the Rust Belt of the Upper Midwest. There are no jobs, no future and the only way out is through the Armed Forces or interior immigration. Hundreds of thousands of people are in the US illegally from all over the world and we don’t hear their stories? Single parent families dominate our society and commercial Broadway theatre ignores the implications. Off-Broadway and smaller spaces will take these issues on but their exposure is extremely limited. Adaptations of movies and revivals of past hits indicates the comfort level of both Broadway investor and audience is quite low to risk while the lack of new dramas and musicals telling powerful, modern stories says that audiences and investors have no appetite for challenging subject matter.

The ideas of the ruling class are in every epoch the ruling ideas, i.e., the class which is the ruling material force of society, is at the same time its ruling intellectual force. Karl Marx