Broadway strike leaves some N.J. professionals in the cold

[billynj]

Posted: 11/18/07 at 6:01pm

Broadway strike leaves some N.J. professionals in the cold
Sunday, November 18, 2007
BY PETER FILICHIA
Star-Ledger Staff
They live in New Jersey, and they work on Broadway -- or they did, until the stagehands' union went on strike last week.

When Local One of the International Alliance of Theatrical Stage Employees walked out, musicians, actors, designers and press agents honored the picket lines.

How have these people, whose livelihood is made by live stage performances, been coping in the last week? Local One members have been told not to speak to the press, so we asked around.

Donna Marie Asbury of Essex County, an actress who's performed in "Chicago" since March 1999: "We actors still have to go into the theater and sign in. We stand there for a half-hour handing out fliers for the union, while people give us dirty looks. These are our lives now. It's a horrible, horrible situation -- especially when you consider that the mayor has offered to help and Local One isn't taking him up on that. I wish I could tell them, 'Boys, bring all your toys back in the sandbox and play nicely.' We are not getting paid our salary, and though we have a strike fund that will offer us about $400 a week, which is tantamount to unemployment insurance, my husband and I do have an 11-year-old daughter to support. She keeps asking me why I don't just solve the strike. She's still at that age where she believes her mommy can move mountains. She's learning I can't."


Michael McGrath, Bloomfield resident and cast member of the yet-to-open "Is He Dead?" at the Lyceum Theatre: "We had just started previews (prior to a Nov. 29 opening), and got two of them in, when the door slammed shut -- literally. It was such a shame, because we were all really ready, and couldn't wait to get out of the rehearsal hall and do it for audiences. Just as we were starting to roll, down came the sword of Damocles. Sure, we're getting about $400 a week, but all I can say is I'm glad I wrote out the check to get our floors sanded and refinished last week when I was getting my full pay. The thing is, now I'm home all day, and I have to listen to them sanding."

Joe Traina of Union, house manager of the Cort Theatre: "I'm taking the time I suddenly have off to get in some extra practice with my jazz group, the Joe Traina Quintet. We play at Sardi's on Tuesday nights, where business was a little off this past Tuesday. But it was a respectable showing, for even though tourists weren't there, some union members came in after being on the picket lines. We saw some theater ushers, ticket takers and ticket sellers, too. The irony wasn't lost on me that two of our songs were commenting on the situation: 'Charade' and 'I Got It Bad, and That Ain't Good.'"

Marc Shaiman, Scotch Plains native and composer of "Hairspray": "I've yet to see anyone from the stagehands' union satisfactorily explain to me why there has to be more people hired than are needed on any job. Look, I'm a composer, and if someone wants to hire me, I don't say to him, 'Well, you have to hire three composers for this.' I do the work, and only I get paid for it. Why should two others who don't do anything get paid, too? You should be able to hire the number of people you need. But maybe I'm just being naive. Anyway, this hasn't discouraged me from Broadway. My collaborators and I are getting together this weekend to hammer out more on our next musical."

Rick Sordelet, a Montclair resident and fight director for "Curtains" and "The Little Mermaid": "Things are tough, because while I did have two shows on Broadway and now suddenly don't, I still have two of my kids in college. I may not seem to be losing much compared to New York City's losing $5 million a day, but it still hurts. Some of the unions have set up contingency plans, and I know the producers have insurance, but if I'm still going to get my royalties from both shows, nobody's told me about it. Frankly, while I understand the producers' frustrations, my sympathies are with the unions. There are only so many people who can unload a truck at a time, but that guy who just seems to be on a break may have just done a job that made him work his butt off."

John Lloyd Young of Jersey City, a Tony Award winner for his portrayal of Frankie Valli in "Jersey Boys": "It's been odd because I'm scheduled to do my final performance of 'Jersey Boys' this coming Wednesday. So I was already expecting to be doing without 'Jersey Boys' financially and professionally. The strike thrust me prematurely back into a life without being in a Broadway show. I just had my very first Saturday night out as a civilian in 2 1/2 years. But at that same time, unless they get the show running again, last Friday was my last performance. So I ended without knowing I ended. Maybe that was okay. I don't like messy, emotional good-byes."

Randall Wreghitt, Union City resident and producer ("Grey Gardens"): "I feel like I'm an observer, because I don't have a show on right now. But I know that the ramifications can still affect me when I have one. I'm planning to bring to Broadway a new play called 'The Great Game' by Dee Tucker Smith, and what happens with the stagehands could very well affect how I go forward. This is a big show set in 1870 India and England, in a few locations within those countries. We're still working on what the set will be like, but how many stagehands we'll need to hire could affect what it looks like on stage. ... Some of that might be determined by what happens with the labor situation."

Les Blasi of Roseland, president of Local 16, the American Federation of Musicians in West Orange: "The desire on the part of the Broadway producer to cut the stagehands, musicians or actors -- all essential to the presentation of a quality production -- seems driven by the desire to save, and to make as much money as possible. I believe this narrow mindset will prove detrimental to the traditionally high quality presentations that the public has come to expect and is entitled to."



Star-Ledger staffer Michael Sommers contributed to this report.



Peter Filichia may be reached at [e-mail] or [phone].



© 2007 The Star Ledger
© 2007 NJ.com All Rights Reserved.

[emo_geek]

Posted: 11/18/07 at 7:16pm

So that is how Marc writes music...with a hammer...

[Tkt2Ride]

Posted: 11/18/07 at 7:41pm

Well if Marc really does use a hammer than he should be on strike too! He is a musician and doesn't know much about the sound board? It doesn't look like he really cares either, it doesn't effect him much either way. Talk about reaching for whatever reaction you can get.

I bet the stagehands would be pretty put out and really have been when the Actors have gone on strike oh, how many times now? Too many are new to New York so they are just trying to deal with their own personal situations.

I am sure the City is pretty mixed. I too thought the Mayor could negotiate but upon further talking I see that the Disney guys will probably be our best bet right now. I wish they stepped up sooner but really they don't usually do that until a strike or lock out is called. It was going to come to this no matter what. It was really just a matter of when,

Had they waited until January, finding temporary work for anyone would be completely non-exsistant. When the season is slow or work isn't coming in, these stagehands do other work too in different areas. Work falls through and shows get cancelled with very little notice. At least most of these people will have a job to come back to. There is a fund to help all of the Producers, unfortunately they too can't really afford a long strike. Putting all of these shows together and what they make a week, 20 million doesn't look like such a big number after all.

They aren't paying the biggest paychecks so that helps but it doesn't look like they will come out well at all if they don't solve this before Thanksgiving. If they lose that, then we can hopefully see these reporters interviewing Producers rather than the average person or Actor on the street.

I'd really like to hear what League members are going without right now. I bet they aren't worried about their mortgages. Though some investors might want to look a little more closer at those who are willing to force workers to work under enforced rules and causing a strike. After all it is their money the League is really gambling with right now.

[uncageg]

Posted: 11/18/07 at 8:01pm

I didn't expect that response from Mr. Shaiman. And the League members have nothing to worry about, they have our 20 million dollars in their warchest.

[emo_geek]

Posted: 11/18/07 at 8:02pm

20 million only lasts so long...and I am sure it will be missed once this is over...

[uncageg]

Posted: 11/18/07 at 8:17pm

Yeah, but it ticks me off that I was paying this surcharge. They still haven't said what that money is for.

[Tkt2Ride]

Posted: 11/18/07 at 8:31pm

I really think they had a hidden agreement to save this money for a battle with the Union. Yet I look at how much Jersey Boys made in a week. All of these shows will need/want this money and when it is gone, it is gone.

I though feel since the public paid it in good faith for everyone in the show, it really should have gone to everyone involved. One could say part of their Union dues were put into the strike fund but they don't get the option to add it to a Theater ticket now do they?

It just gives us a pittance of what is really being made off of every show because this amount only represents pennies of what they make off of a ticket. It definitely makes me think about how much I want to pay for a Broadway show. since so little of it goes to those who are actually doing the work.

I would like to see the breakdown of the initial start up costs and find out where all the money is really going?

Some of the biggest profiteers are the advertisers. Maybe Producers should go back to using the mail instead of paying those big advertising costs. They should go to the Internet and Youtube. Something has to be done with the price of commercial television. I mean remember the cast of Friends were getting a million dollars an episode! Imagine what the studio actually made off of that show alone!

It just reminds me that we have look around us and not just focus on what they want us to see with blinders on. If we do that, we really aren't getting the big picture of how things really are for everyone.

[Boq101]

Posted: 11/18/07 at 8:33pm

I hope Marc Shaiman's next show on Broadway has to catastrophic malfunction and he'll have no extra hands available to know what to do. That's a very uneducated thing to say to a newspaper, if you know you might be a little green on the subject, keep your trap shut.

[dented146]

Posted: 11/18/07 at 9:08pm

Tkt2, You are correct that the lions share of the money made by shows like Jersey Boys goes into the pockets of the producers. But this strike isn't about just those producers. I have met a couple of people from The La Jolla Playhouse who actually PASSED on investing in Jersey Boys because they lost their entire investments in privious attempts on Broadway. But,of course, the stagehands and all others with the shows got paid until the money ran out.

This strike will not have a big impact on the vast majority of producers for the simple reason that they are wealthy people and most of the people who labor on Broadway are not.

You can make a great case that all the people who work on the shows should do better but in the end fewer production will show a profit and investment will dry up.


Updated On: 11/18/07 at 09:08 PM

[emo_geek]

Posted: 11/18/07 at 9:18pm

Wow Boq... Marc has been nothing but lovely to people, especially here at Broadwayworld. He was just answering a question...

[dancinfan]

Posted: 11/18/07 at 9:32pm

Really? All the hundreds of New Jersey residents directly affected by the strike, and Filichia calls Rick Sordelet for an interview? One of the workingest men in show business?

That said, I agree with what he had to say.

[Marc Shaiman]

Posted: 11/18/07 at 9:34pm

Friends!

Don't be silly, I care and am affected by the strike a LOT

I have worked in the business for 30 years (which freaks me out, I'm so F**KING OLD!)

I am a proud union and guild member. To just about all of em. Musicans, Writer, Songwriters, Dramatist Guild, SAG, etc. I have burned bridges at more than one movie studio for my refusal to work with non-union (i.e. cheaper) orchestras outside of Los Angeles

I have been scolded by my HAIRSPRAY producers when I thanked the cast and band onstage after winning the Grammy and spoke out in favor of the (about to strike) musicians in the fight against the overuse of synths over live musicians. Being replaced by a machine was (and is) truly a scary thought, albeit one that has happened to millions of people in the last 100 years

But...all that experience has, at times, also showed me that the union for the orchestras in Hollywood, the musicians union on Broadway and the stagehands union all have antiquated rules in their contracts that SOMETIMES add extra people and expenses to budgets. Sometimes greatly so. Sometimes just a little. Sometimes not at all.

I wouldn't want someone to tell me I need more altos in my chorus. I know what the right number is. Along the same lines, a RESPONSIBLE producer, working with their General Manager, Stage Management and the head crew members, knows what is needed on the crew, particularly at "load-ins". No Producer or Theatre would ever risk safety or the show screwing up nightly. To imply that is kinda nasty.

And so, there it is. My opinion, based on 30 years of experience. You guys online constantly insist on your right to express your opinions. I believe this strike is hurting thousands of people for the sake of a few unnecessary rules that could be adjusted by fair people.

At the end of the day, there is clearly no perfect solution to all this. Let's pray those in control on both sides find a compromise everyone can live with.

Marc
Updated On: 11/18/07 at 09:34 PM

[Marc Shaiman]

Posted: 11/18/07 at 9:43pm

OMG, I just re-counted, and I have been in the business for 32 years, not 30. I am gonna go vomit

[Yankeefan007]

Posted: 11/18/07 at 9:44pm

Just as an aside,

Marc - saw a trailer for a movie the other day and your name was attached as "Music by..." I think it was PS I Love You. Yes/no?

[One NYC StageHand]

Posted: 11/18/07 at 9:58pm

"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 is not a dispute about finiancials. If it were then this would have been settled in August.
Fairness and equity are being treated like they were "dancers at a nightclub."

[Marc Shaiman]

Posted: 11/18/07 at 10:02pm

ONE NS, lets pray they figure it out

[Tkt2Ride]

Posted: 11/18/07 at 10:12pm

Actually what I meant was that Jersey Boys is losing a lot of money because of this strike. They won't get all the money they lost from the strike fund. The longer the strike though the faster the money runs out for everyone.

Certain sources of investment might dry up but many invest to begin with because they have money they need to do something with. Some do it because they have to offset their gains/loses. Some because they love the art or want to see something in particular produced. Others because they are willing to gamble because they think they can win. That is how much of the business world is. You want a secure investment buy Real Estate. Like any investment though if you don't know the market or anything about what you are investing in than you are bound to lose your shirt.

My point was that we paid into a strike fund for one party but not into the other. Given the choice, most of us wouldn't choose to do that.

Investments are a gamble and I am sorry some of your friends lost out on Jersey Boys. My Uncle he lost out on Wendy's. He became a millionaire from Real Estate. We usually lose something whenever we invest.

I am all for profit sharing but like I mentioned somewhere else and the writers strike points out clearly, under those terms, you often find yourself in court fighting for your share of the profit. Only lawyers really make money in those situations at these payscales. Though if a few more investors did this imagine how much that might improve the incentive of your workers to help promote your show?

I have looked over the issues and it really does seem to me that many of the perks were created to keep top stagehands salaries down. Most meet only the minimum pay scale for their field of work. If you eliminate perks without raising wages initially you will find your pool for talent start to diminish.

So which do you choose? Take a risk that you can manage your Production efficiently so overhead can be avoided or just pay all the workers a higher wage overall and hope they retire young? These guys have lawyers too. They aren't giving up what they already fought for in years past for nothing.

I still say there are better places to cut your expenses. I also feel you have to really know how well your Productions are being managed. The costliest mistake any investor has is hiring someone who thinks they can do the job verses someone who can. Most of the cost over runs I have observed in business are the results of mismanagement. Sad to say. That and the lack of technical knowledge for the equipment you own. Some things cannot be avoided.

To say these guys are in it for the money is well, obvious right? Aren't we all? If you want more you learn more. If you do that though you should get paid more too.

There are many reasons a show costs so much on Broadway. Unfortunately, unless you want to risk your hide on a stage, you will have to pay to get good talent up there to do the work. This is why so many shows never make it. Those that do still risk losing it all but that is what capital gains/loses is for. Never risk money you can't afford to lose. Of course some may say they would never have gotten rich but a whole lot wouldn't be so poor if they followed that advice.

It looks like to me shows are still fighting each other for a Broadway stage so until that changes I doubt you will find too many workers willing to work for less when it is obvious inflation is already going through the roof.

[MaronaDavies]

Posted: 11/18/07 at 10:33pm

"No Producer or Theatre would ever risk safety or the show screwing up nightly. To imply that is kinda nasty. "

Mr. Shaiman, you're one of the people on Broadway I respect most, and I continue to do so. I'm surprised to hear this coming from you.

Given all the working conditions Equity has to mandate, and all the actors who have been permanently injured by raked stages, dry ice, special effects gone wrong and other things, or have been worked into the ground by insane show schedules (Fosse anyone?), would I believe producers care about safety? Not really. They care about having those actors standing long enough to perform the show. They care about not being sued or embarrassed. They don't give a damn what happens to them otherwise. I've had friends stranded in Europe by producers of tours who have taken off without a trace.

I agree that producers should not be forced to hire people they don't need. However, they're not understanding that perhaps the stagehands, who work at the theatre on a day to day basis, know more about what the show needs than the guys in suits who have never been up there on the catwalk. They might think that less stagehands can handle the same workload. They're not up there. They're not doing the work every night.

Give less work to more people, and you're going to have less attention to detail, less time to do the job right and more fatigue. As when you have actors onstage with pyrotechnics, flying scenery and trap doors, that has the potential to endanger people's lives.

As an analogy: if you were going in for major surgery, would you want someone up at your insurance company, who has never performed surgery, saying, "Oh, we don't need the nurses and the anesthesiologist there. The surgeon can give him the anesthesia. There's only a slight chance he'll have a complication and die on us. They'll just be standing around most of the time!" Or would you trust that the medical staff knows what they're doing when they say they need 5 people in the OR with you?

We all want this settled. But it can't be settled at the expense of the people on that stage, or the ones working backstage either.