For the first time in a number of years, May Day celebrations in Europe turned into riots. The loss of their standard of living, rising unemployment and lost benefits were the cause of the large May Day turnout. In the US, we, as workers, don't need to espouse any alternative types of economic systems because everything is just going just great. In fact, in the US we don't celebrate May Day anymore because in 1959, the day was rebranded Loyalty Day.
Anger and hunger have a way of making movements develop before there are press releases, before time can be reserved on the bird for stand-ups, before it can be packaged. Gil Scott Heron had some thoughts on this. As did John Steinbeck in the Grapes Of Wrath which is well worth a watch again.
I came across Herman Melville's "The Martyr", his elegy on Lincoln's death, and the last stanza gave me a shock.
The Martyr
Herman Melville
...............
There is sobbing of the strong,
And a pall upon the land;
But the People in their weeping
Bare the iron hand:
Beware the People weeping
When they bare an iron hand.
The truth can be a fearsome thing.
Saturday, May 2, 2009
Thursday, April 30, 2009
Stupid Things The Local Crew Do
While it's a construction accident, we'll all probably recognise it's nature.
So The Boss Said "It Will Be Fine, Don't Worry"
Description: Plaintiff's Construction Liability and Safety Expert Timothy G. Galarnyk of Construction Risk Management, Inc. concluded that Gibbs Construction Services and LeClaire Hotel Group flagrantly violated OSHA regulations by constructing a wooden box and placing this box on the forks of a Telehandler Lift. A similar collapse of a similarly constructed wooden box occurred involving Gibbs Construction less than a year prior to this injury accident. In the previous collapse, a worker had just exited the box on the third floor into a hotel window when the wooden box toppled to the ground.
In this case involving Frohne, Gibbs and the LeClaire Hotel Group instructed Frohne to use the wooden box and the Telehandler to access the gutter installation work. When Frohne was hoisted up to the third floor of the Hotel under construction, the wooden box suddenly fell off the forks and collapsed 30 feet to the ground with Frohne.
Outcome: Plaintiff's verdict for $7 million.
So The Boss Said "It Will Be Fine, Don't Worry"
Description: Plaintiff's Construction Liability and Safety Expert Timothy G. Galarnyk of Construction Risk Management, Inc. concluded that Gibbs Construction Services and LeClaire Hotel Group flagrantly violated OSHA regulations by constructing a wooden box and placing this box on the forks of a Telehandler Lift. A similar collapse of a similarly constructed wooden box occurred involving Gibbs Construction less than a year prior to this injury accident. In the previous collapse, a worker had just exited the box on the third floor into a hotel window when the wooden box toppled to the ground.
In this case involving Frohne, Gibbs and the LeClaire Hotel Group instructed Frohne to use the wooden box and the Telehandler to access the gutter installation work. When Frohne was hoisted up to the third floor of the Hotel under construction, the wooden box suddenly fell off the forks and collapsed 30 feet to the ground with Frohne.
Outcome: Plaintiff's verdict for $7 million.
Tuesday, April 28, 2009
Stupid Things Said By House Crew
Road guys talk about the local crews on a site just for them. It's educational and good to see yourself through others eyes. I can't say I like it but it's real.
I know I'm in for a bad night of mixing when the house sound says "Yeah, it's an acoustically perfect room!". Perfect for what, I wonder? Not for a live show, that's for sure.
A local rigger on a show call for a tour I was on blew me off when I asked him to watch the chains while he was running motors. I believe he said "Ive been doing this longer than you have been alive" or another typical line. Right afterwords he began chatting with his buddy while working. The chain got jammed and ruined the motor while I watched it all happen....lame
Working in a small arena, we marked that one point was to be a split 15 - 15 bridal. we hear the up rigger shout own to the ground rigger "whats the F***ks a 15 dash 15 V" yup.....
So were dumping the trucks, give one of the hands the FOH cases. "Where do these go?" he asks. "Send it to Front of House" our SM tells him. almost 1/2 hour later this kid comes back to the trucks and i shit you not i quote "I looked and looked, but could not find this house you were talking about."
I told a neck-down that I needed all the Stage Right Gear on the STAGE RIGHT Side....He actually had to ask the second dumbest question, "So is that YOUR stage right? or My Stage Right?"
"Ive been a stagehand for 20 years and never once has anyone asked me if I had a cresent wrench."
"Which one is the snare?" Spoken by a local audio guy in a theater, who had just finished telling me he'd been there for 15 years.
My fav was at Madison Square Garden when I said to the stagehands "Are you with audio?" and they replied "No, we're with sound?" You can't make this shit up!
I'd like to hope on that last one somebody was being ironic and somebody else missed it.
I know I'm in for a bad night of mixing when the house sound says "Yeah, it's an acoustically perfect room!". Perfect for what, I wonder? Not for a live show, that's for sure.
A local rigger on a show call for a tour I was on blew me off when I asked him to watch the chains while he was running motors. I believe he said "Ive been doing this longer than you have been alive" or another typical line. Right afterwords he began chatting with his buddy while working. The chain got jammed and ruined the motor while I watched it all happen....lame
Working in a small arena, we marked that one point was to be a split 15 - 15 bridal. we hear the up rigger shout own to the ground rigger "whats the F***ks a 15 dash 15 V" yup.....
So were dumping the trucks, give one of the hands the FOH cases. "Where do these go?" he asks. "Send it to Front of House" our SM tells him. almost 1/2 hour later this kid comes back to the trucks and i shit you not i quote "I looked and looked, but could not find this house you were talking about."
I told a neck-down that I needed all the Stage Right Gear on the STAGE RIGHT Side....He actually had to ask the second dumbest question, "So is that YOUR stage right? or My Stage Right?"
"Ive been a stagehand for 20 years and never once has anyone asked me if I had a cresent wrench."
"Which one is the snare?" Spoken by a local audio guy in a theater, who had just finished telling me he'd been there for 15 years.
My fav was at Madison Square Garden when I said to the stagehands "Are you with audio?" and they replied "No, we're with sound?" You can't make this shit up!
I'd like to hope on that last one somebody was being ironic and somebody else missed it.
Monday, April 27, 2009
The Oak And The Willow
"The best test of a civilized society is the way in which it treats its most vulnerable and weakest members. "
Mahatma Gandhi
One of the main talking points of the Broadway League during the run-up to and during the strike in 2007 was that the Local was too inflexible in its rules and resistant to change. The Local replied that we were resistant to job losses and that Local would not change work rules without something in exchange. We were called featherbedders in public and worse in private, I'm sure.
The reality is somewhat different, of course. Given the width and breath of Local One's jurisdiction, with scene shops, television, opera, concert halls, Off-Broadway and LORT contracts, there is no such thing as a one size fits all contract. Are there standards that we want maintained? Yes. Safety, retirement security, cleanliness, the ability to take a break and have a meal, minimum calls, a living wage, these are all standards we work to keep. However, we don’t write contracts that close shows or shops. We will make adjustments when they are called for. Stagehands are nothing if not practical.
It was with some pride that I learned that the Local members voted on Sunday to accept wage freezes at two theatre companies that have been hit hard by the financial mess. As a Local we have worked over the years to help grow these companies with contracts and conditions that were appropriate for them and their size. Also passed was a new contract for a space in the Bronx that had been organized. In that contract the Local recognizes that the venue has a split mission, one as a roadhouse and one as community theatrical resource. As a result, there are different pay rates for the crew, depending on the event.
I think one of the inadvertent highlights of the labor disputes 2003 and 2007 is a renewed sense of “community” in the theatrical community. We have a history of helping each other during tough times. Now is one of those times and Local One is doing its part.
One of the main talking points of the Broadway League during the run-up to and during the strike in 2007 was that the Local was too inflexible in its rules and resistant to change. The Local replied that we were resistant to job losses and that Local would not change work rules without something in exchange. We were called featherbedders in public and worse in private, I'm sure.
The reality is somewhat different, of course. Given the width and breath of Local One's jurisdiction, with scene shops, television, opera, concert halls, Off-Broadway and LORT contracts, there is no such thing as a one size fits all contract. Are there standards that we want maintained? Yes. Safety, retirement security, cleanliness, the ability to take a break and have a meal, minimum calls, a living wage, these are all standards we work to keep. However, we don’t write contracts that close shows or shops. We will make adjustments when they are called for. Stagehands are nothing if not practical.
It was with some pride that I learned that the Local members voted on Sunday to accept wage freezes at two theatre companies that have been hit hard by the financial mess. As a Local we have worked over the years to help grow these companies with contracts and conditions that were appropriate for them and their size. Also passed was a new contract for a space in the Bronx that had been organized. In that contract the Local recognizes that the venue has a split mission, one as a roadhouse and one as community theatrical resource. As a result, there are different pay rates for the crew, depending on the event.
I think one of the inadvertent highlights of the labor disputes 2003 and 2007 is a renewed sense of “community” in the theatrical community. We have a history of helping each other during tough times. Now is one of those times and Local One is doing its part.
Saturday, April 18, 2009
Is This the Time and Place?
Anonymous (who seems to be all over the Internet) posted a comment to an off-hand remark I made in “After The Fall” about romancing the Federal Theatre Project. In the comment, Anonymous claims “theater unions were vehemently against its beginning”. I asked for references and he/she referred me to two books. I have not read the books so I can’t judge on how accurate the original works are on the subject. Nor on Anonymous’ interpretation of their interpretation. Being underemployed and with a slight case of OCD, I did my own research. In NYC there are various theatre libraries like the NYPL for the Performing Arts , the Wagner Archives and industry resources at one's disposal.
Thanks, Anonymous, for making me proud to be a union member.
In the 1928/29 season there were about 264 shows that opened. In the 1931/32 season that number had dropped to 230. By the 1935/36 season that number had dropped to 170. In 1931, upstart Shubert Brothers were bankrupt. The League of New York Theatres and Producers, now the Broadway League, was formed in 1930. It was estimated that 25,000 show folk were out of work.
There was no unemployment insurance, welfare, food stamps, pensions or health care. Hoover, the conservatives and Big Business rejected ideas of programs of emergency relief and instead raised tariffs, which worsened the problem.
With rising unemployment in it’s own ranks, IATSE Local One decided to create it’s own relief program. With the agreement of the theatre managers, it was decided stagehands would work a five-show week and that unemployed stagehands would make up the rest of the shows. I haven’t determined how the program was administered, though perhaps like our League Strike, we learned to administer it on the fly. When there wasn’t enough work, there were relief stipends, and in emergency cases, there were loans. Sometimes raffles were held to help individuals, often the retired stagehand without a pension, who were having illnesses or other hard times.
In September of 1935, IATSE representatives, Local One business agents and others in the industry met in Washington and New York with Hattie Flanagan, newly appointed head of the Federal Theatre Project of the Works Progress Administration. In her first Regional Directors Report on Oct. 8th, 1935, Miss Flanagan describes meeting with the various interested parties. After meeting with “National Stage hands Union” she said, "The decision was that we cannot run a union shop, but that preferences is given to union workers because of their professional qualifications". The meetings with the League were successful only after some negotiations. “These meetings, in New York City, resulted in this group moving from complete antagonism to the project to the utmost cooperation, with an offer to sponsor several New York units as try-out theatres. “
With that out of the way, Flanagan, Edward Rollin, J. Horn and Mr. Barber of the Theatrical Projects Administration Staff, the IATSE Reps and Local One Business Agent Vince Jacobi began to set up the mechanics of the administration of the FTP in NYC. Business Agent Jacobi was appointed to oversee the application process for the stage technicians.
In February of 1936 an agreement was reached whereby Heads of Departments were paid $130 a month and grips, clearers and operators were paid $103 a month for 12 days of work for eight hours a day. 90 to 100 stagehands were expected to be employed by the program. By way of comparison, at the Hippodrome in 1935, a head made $125 a week and flymen, front light operators and others made $6 a show.
Many Local One members took great pride in being part of the program. While they were making less than they could with their Relief Tickets at other non-WPA theatres, protecting the Union and supporting the work that was being put on was more important than a days work at a higher rate. It was the policy of the Union that any man who did not protect the Union in the WPA jobs would be removed from the program and replaced.
In April of 1936, Congressman Wagner had read into the Congressional Report a telegram of support for the WPA, sent by Local One.
The success of the program was such that RKO, Loews and other theatre managers who saw the FTP as competition, complained to Local One that the FTP stagehands were being paid less they were paying for stagehands.
According to IATSE President George Browne’s Convention Report in June of 1938, the original program expanded from the original 90 in 1935 to 400 stagehands and 60 Department Heads. The rate had also been improved to $145 a month. The report ends with, “Our dealings with the officials of the Federal Theatre Project have been exceptionally satisfactory. I have always found a keen desire on their part to cooperate with us, which I have endeavored to reciprocate at every turn.”
The Living Newspaper shows played at Maxine Elliot’s Theatre, 49th St., Adelphi, Ritz, and the Biltmore Theatres.
The Negro Theatre Unit performed at the Lafayette and Adelphi Theatres.
The Children’s Unit performed at the Adelphi.
The Experimental Theatre Unit performed at the Venice and Experimental Theatre (Daly's 63rd Street) Theatres.
There were also units for Managers Try-out, One-Act, Poetic, Popular Price, Studio, Theatre for Youth, Variety, and Yiddish Theatre.
By the end of the 1939/1940 season , when the FTP ended, there were about 100 shows that opened. In the 1946/47 season about 130 shows opened. We never saw another season as busy as 1928 with 264 shows.
But our finest hour may have been ahead of us.
Thanks, Anonymous, for making me proud to be a union member.
In the 1928/29 season there were about 264 shows that opened. In the 1931/32 season that number had dropped to 230. By the 1935/36 season that number had dropped to 170. In 1931, upstart Shubert Brothers were bankrupt. The League of New York Theatres and Producers, now the Broadway League, was formed in 1930. It was estimated that 25,000 show folk were out of work.
There was no unemployment insurance, welfare, food stamps, pensions or health care. Hoover, the conservatives and Big Business rejected ideas of programs of emergency relief and instead raised tariffs, which worsened the problem.
With rising unemployment in it’s own ranks, IATSE Local One decided to create it’s own relief program. With the agreement of the theatre managers, it was decided stagehands would work a five-show week and that unemployed stagehands would make up the rest of the shows. I haven’t determined how the program was administered, though perhaps like our League Strike, we learned to administer it on the fly. When there wasn’t enough work, there were relief stipends, and in emergency cases, there were loans. Sometimes raffles were held to help individuals, often the retired stagehand without a pension, who were having illnesses or other hard times.
In September of 1935, IATSE representatives, Local One business agents and others in the industry met in Washington and New York with Hattie Flanagan, newly appointed head of the Federal Theatre Project of the Works Progress Administration. In her first Regional Directors Report on Oct. 8th, 1935, Miss Flanagan describes meeting with the various interested parties. After meeting with “National Stage hands Union” she said, "The decision was that we cannot run a union shop, but that preferences is given to union workers because of their professional qualifications". The meetings with the League were successful only after some negotiations. “These meetings, in New York City, resulted in this group moving from complete antagonism to the project to the utmost cooperation, with an offer to sponsor several New York units as try-out theatres. “
With that out of the way, Flanagan, Edward Rollin, J. Horn and Mr. Barber of the Theatrical Projects Administration Staff, the IATSE Reps and Local One Business Agent Vince Jacobi began to set up the mechanics of the administration of the FTP in NYC. Business Agent Jacobi was appointed to oversee the application process for the stage technicians.
In February of 1936 an agreement was reached whereby Heads of Departments were paid $130 a month and grips, clearers and operators were paid $103 a month for 12 days of work for eight hours a day. 90 to 100 stagehands were expected to be employed by the program. By way of comparison, at the Hippodrome in 1935, a head made $125 a week and flymen, front light operators and others made $6 a show.
Many Local One members took great pride in being part of the program. While they were making less than they could with their Relief Tickets at other non-WPA theatres, protecting the Union and supporting the work that was being put on was more important than a days work at a higher rate. It was the policy of the Union that any man who did not protect the Union in the WPA jobs would be removed from the program and replaced.
In April of 1936, Congressman Wagner had read into the Congressional Report a telegram of support for the WPA, sent by Local One.
The success of the program was such that RKO, Loews and other theatre managers who saw the FTP as competition, complained to Local One that the FTP stagehands were being paid less they were paying for stagehands.
According to IATSE President George Browne’s Convention Report in June of 1938, the original program expanded from the original 90 in 1935 to 400 stagehands and 60 Department Heads. The rate had also been improved to $145 a month. The report ends with, “Our dealings with the officials of the Federal Theatre Project have been exceptionally satisfactory. I have always found a keen desire on their part to cooperate with us, which I have endeavored to reciprocate at every turn.”
The Living Newspaper shows played at Maxine Elliot’s Theatre, 49th St., Adelphi, Ritz, and the Biltmore Theatres.
The Negro Theatre Unit performed at the Lafayette and Adelphi Theatres.
The Children’s Unit performed at the Adelphi.
The Experimental Theatre Unit performed at the Venice and Experimental Theatre (Daly's 63rd Street) Theatres.
There were also units for Managers Try-out, One-Act, Poetic, Popular Price, Studio, Theatre for Youth, Variety, and Yiddish Theatre.
By the end of the 1939/1940 season , when the FTP ended, there were about 100 shows that opened. In the 1946/47 season about 130 shows opened. We never saw another season as busy as 1928 with 264 shows.
But our finest hour may have been ahead of us.
Wednesday, April 15, 2009
WWKTD
What Would Kenneth Tynan Do?
In an article in Bloomberg about “Impressionism”, Jeremy Gerard writes a “commentary” (which evidently is a little less than reporting and a little more than opinion) about why “Impressionism” got less than stellar reviews. It was the stagehands. Those damned expensive stagehands. And their damned expensive scenery.
Gerard starts by painting sophomore playwright Michael Jacobs as a victim of a critical “mugging” and then calls the show a “muddle.” Manny Azenberg is quoted as saying everything is getting more expensive than it was in the old days (much more expensive!) but at least he attributes some of the cost to retirement and health care, not just the dirty greed of those nasty, nasty union thugs. Gerard then says “God of Carnage” is succeeding only because it is “ferociously funny” while omitting the cost/benefit analysis. And in the last line, he quotes Producer Bill Haber of “Impressionism”, who appears to be channeling Yogi Berra when he says, “The minute they stop buying tickets, I will close the show,” he says. “I’m not in the charity business.”
I think the future of Broadway lies in the stagehands writing funnier, cheaper scenery.
In an article in Bloomberg about “Impressionism”, Jeremy Gerard writes a “commentary” (which evidently is a little less than reporting and a little more than opinion) about why “Impressionism” got less than stellar reviews. It was the stagehands. Those damned expensive stagehands. And their damned expensive scenery.
Gerard starts by painting sophomore playwright Michael Jacobs as a victim of a critical “mugging” and then calls the show a “muddle.” Manny Azenberg is quoted as saying everything is getting more expensive than it was in the old days (much more expensive!) but at least he attributes some of the cost to retirement and health care, not just the dirty greed of those nasty, nasty union thugs. Gerard then says “God of Carnage” is succeeding only because it is “ferociously funny” while omitting the cost/benefit analysis. And in the last line, he quotes Producer Bill Haber of “Impressionism”, who appears to be channeling Yogi Berra when he says, “The minute they stop buying tickets, I will close the show,” he says. “I’m not in the charity business.”
I think the future of Broadway lies in the stagehands writing funnier, cheaper scenery.
Saturday, April 11, 2009
Double, Double Toil And Trouble
For me my blog has become a bit of a microcosm of what life is like for many in the entertainment industry. Ignored during busy times and doted over in idleness. For any of you who have spend days, weeks and months on a project know what it’s like to suddenly start spending a lot more time at home. Corners get cleaned, taxes get paid, dinners are eaten off plates that you have to wash yourself and if you’re old enough, tending to health matters that waited until you found the time. If you’re young enough, you continue to ignore your health and you go catch up with the regulars at the your favorite bar.
Until the next project. Then reverse and repeat.
I was able to catch up on some blogs and I want to draw your attention to an interesting post on Ken Davenport’s Producer’s Perspective. The post on March 30th discusses a study about discount tickets and the impact on attendance, etc since 1992 to 2008. The study used “Phantom Of The Opera” as the control. Graph One shows that gross sales continue to climb albeit at a slower pace since 2000. Graph three shows that Average Paid Admission has continued to climb with an increase in the growth rate since 2000. Graph Four shows Full Ticket Price increasing at a rate faster than inflation for the period.
For me the most interesting chart is Graph Two. Graph Two shows that in 2000 the number of Tickets Sold has actually leveled off, with a growth rate since of only 7%. My take on this is that Broadway is putting as many fannies in as many seats as it possibly can. But we’re not growing. Broadway can’t really be considered a growth industry.
The advice to Mrs. Worthington may still hold true.
Until the next project. Then reverse and repeat.
I was able to catch up on some blogs and I want to draw your attention to an interesting post on Ken Davenport’s Producer’s Perspective. The post on March 30th discusses a study about discount tickets and the impact on attendance, etc since 1992 to 2008. The study used “Phantom Of The Opera” as the control. Graph One shows that gross sales continue to climb albeit at a slower pace since 2000. Graph three shows that Average Paid Admission has continued to climb with an increase in the growth rate since 2000. Graph Four shows Full Ticket Price increasing at a rate faster than inflation for the period.
For me the most interesting chart is Graph Two. Graph Two shows that in 2000 the number of Tickets Sold has actually leveled off, with a growth rate since of only 7%. My take on this is that Broadway is putting as many fannies in as many seats as it possibly can. But we’re not growing. Broadway can’t really be considered a growth industry.
The advice to Mrs. Worthington may still hold true.
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