Profile for One NYC StageHand

November 19, 2007 Stagehands and Producers Break Off Talks By CAMPBELL ROBERTSON The latest round of talks between the producers’ league and the stagehands’ union broke down last night, leaving no end in sight for the strike that has darkened most of Broadway for nine days. Soon after the breakdown, the League of American Theaters and Producers announced that it was canceling performances of the 27 shows affected by the strike through Sunday. No further talks have been scheduled. Cold, just c...

"I believe this strike is hurting thousands of people for the sake of a few unnecessary rules that could be adjusted by fair people." As a Broadway stagehand, I concur. And that is the position of Local One. We felt that adjustments could be made and a fair exchange achieved. So far a fair exchange has not been achieved and thus the dispute continues. Contrast the public statements of the League with the statements of Local One. Compare the actions of the League and the actions of Local One. ...

This statement is symptomatic of a larger problem commonly found those who either spout or listen to hyperbole. They suffer fools gladly. The only bigger a--hole is an a--hole who argues with an a--hole. I would expect a little greater factual accuracy from the NYTimes but then perhaps the editor accompanied the reporter on the round of barhopping. Perhaps since Mr. Allen has put his oar into the topic, is it now appropriate for the rest of us to ask just how well his workers are paid? Hello,...

"But a younger generation of producers decided that the contract now up for renewal would be the one in which they pushed for big changes, and the theater owners are, this time, pushing with them." The largest of these "younger generation" producers happens to be Clear Channel and Robert Sillerman of SFX. Sillerman is the one who is refusing to post grosses for YF. The bargaining pattern that we see in these negotiations is strikingly similar to the pattern that Clear Channel follows in their...

1.) The piece of equipment involved is a HighEnd DL-2 that uses a Whole Hog board. I describe it in my blog(http://onenycstagehand.blogspot.com/) on Nov. 2nd. A terrific piece of technology. This moving head lights, projects and videos all in the same unit. It's really terrific. When they came out, the Local gave the single operator to the producers because that's logically how this thing works. They have the rule, I don't know why it keeps getting dragged out. 2.) The base salary for a class...

Local One Press Conference. YouTube Judge for yourself; http://www.youtube.com/watch?v=gEk7nngVr_c

You know what? BK's right, this is getting tedious. This won't be settled here and I've got some precious free time that is better spent doing anything else than sitting in front of a computer. Talk among yourselves because I'm outta here.

BK, it's a lot easier to post often when you've got time on your hands. When we work, we've busy and not able to post. Bobby, Bobby, as a working actor you will understand that there are parallels in the Local One contract and the Broadway Equity contract. IIRC, actors are paid for rehearsal calls every week even if there isn't rehearsal. They are getting paid for doing nothing, are they not? In the next contract when the Producers turn the PR machine against AEA, where will you be?

Bobby, Bobby. Read my blog for a discussion about the equipment in question.http://onenycstagehand.blogspot.com. The staffing requirement for that equipment is something the Producers already have. If you don't care for the 38% number, pick a give back number that would be satisfactory to you. 35%, 30%, 25%. Bear in mind this will not reduce the cost to you, the theatre going public, a single penny. Nor will it keep shows open that you, the theatre going public, choose to stay away from. The ...

My guess if the strike isn't over by Jan. 20, then the union will cave. Without good faith bargaining, probably not before.

As a union member you should recognize that all that you read in the paper might be news but not the truth. As for you statement that class warfare is dead, I would suggest that this is a point of view of someone would is engaged in a defensive position. Are you better off than your parents were? Is your salary going further? Do you have, say, six months of living expenses in savings? Are the politicians and ideologues telling you what to teach? Do you find the mass media stimulating? The NEA...

To express your frustration with the situation: Contact the League of American Theatres and Producers. You may call 212.764.1122 or e-mail them at league@broadway.org. League President Charlotte St. Martin's e-mail address is cstmartin@broadway.org. Director of communications for the League is Alan Cohen at acohen@broadway.org. Shubert Organization Theatre Operations Phone: (212) 944-3700

Local 802 when out on Mar. 7 and struck 18 musicals. From Workers.org. Mar.20,2003 "Broadway bosses made their union-busting intentions plain in contract talks. They wanted to abolish the union's hard-won guaranteed minimum of 24-26 live musicians for each Broadway musical. Producers wanted to cut the minimum to just six musicians. The union said this is just the start of the theater bosses' plan to do away with live music on Broadway and replace live orchestras with pre-recorded soundtracks....

"but there came a time when I decided it was a good thing to not have to sleep on friends couches or in my car and regular meals actually were healthy. And it was also nice to be able to have health insurance and to be able to save for my golden years." So I guess you were a really bad, non-union stage manger. Did you every think about teaching?

I would suggest that, as I take references to suicide seriously, you talk to a friend, get out of the house and get something to eat. This too, shall pass.

In an article from Crain's NY November 09. 2007 3:23PM http://www.crainsnewyork.com/apps/pbcs.dll/article?AID=/20071109/FREE/71109011/1044 In the event of a strike, refunds or exchanges would be provided to ticket holders, according to Mr. Cohen.

My experience tells me that the confusion around the $100/hr minimum is this. A stagehand is brought in for a four-hour work call. After everything is deducted, take home is probably about $100 for that four-hour call. If you're on the producing end and get a bill from the house at $100/hr for that four hour call, that would be the hourly mark up for the house. As for your child's first theatrical experience, I would suggest you explain to your child that making sacrfices for the common good ...

During the last contract negotiations it was stated across the table that the Producers thought that Local One had the power then but wouldn't in the next negotiations. The League then self-imposed a surtax on every ticket sold to fund a war chest to last out the lockout. At the start of the current negotiations the League stated that there would be a lockout if the Leagues demands were not met. During the current negotiations, the League has engaged in what is probably surface bargaining. Fa...

and find out if your show will be going on.

The Lunt-Fontaine is a Nederlander owned house with a Disney Theatricals production. The New Amsterdam is a Disney owned house with a Disney Theatricals production. Disney is not part of the League and the New Amsterdam will not be affected.