Local 51 invites all members and their families to join us Monday, December 10th for our annual Open House from 11 am to 5 pm at the Local 51 meeting hall, 3030 North Freeway. . There will be food, beverages and good company for all to enjoy. Leave your wishes for the holiday season on the comments page and try to stay within the spirit of 'Good Will to Men' and women... We wish for each member to be who they need to be without harming each other or themselves. Sappy, yes, sincere too.
By CAMPBELL ROBERTSON of the New York Times
Photo by Sara Krulwich/The New York TimesPublished: November 29, 2007
The league representing Broadway’s theater owners and producers and the union representing its stagehands announced a settlement last night, bringing to an end a strike that had shuttered most of Broadway for 19 days, disrupted the plans of thousands of theatergoers and cost the city tens of millions of dollars in lost revenues.
The accord ended the second strike on Broadway in five years but the longest since a 25-day musicians’ strike in 1975. A musicians’ strike in 2003 lasted just four days.
The announcement came around 10:30 last night, capping a third day of marathon negotiations, and was met by cheering stagehands, with nearly 100 gathering outside the law offices where the negotiations had been taking place.
Leaving around 10:45 p.m., Charlotte St. Martin, the executive director of the League of American Theaters and Producers, announced: “Performances begin tomorrow night.”
In a statement issued later, she said, “the contract is a good compromise that serves our industry.”
About five minutes after Ms. St. Martin left the building, senior union officials, including James J. Claffey Jr., the president of Local 1 of the International Alliance of Theatrical Stage Employees, the stagehands’ union, came outside to louder applause, holding their fingers in the air to represent Local 1.
“You represented yourselves and your families and your union proud,” Mr. Claffey said to the stagehands who had gathered. The membership of the union is scheduled to vote on the settlement in 10 days. Local 1 officials would not comment on the chances of ratification, but officials on the union negotiating committee seemed happy with the terms of the five-year contract.
“It’s equitable for everyone involved,” said Kevin McGarty, a business manager for Local 1. Mayor Michael R. Bloomberg, in a statement last night, called the agreement “great news not just for everyone who earns their living on or around Broadway, but for everyone who lives in, works in, or visits New York City.”
About 350 of the 2,200 active members of the union participated in the walkout, which began Nov. 10.
The strike, the first in the union’s 121-year history, darkened 31 theaters, shuttering 27 shows and one Duran Duran concert, which moved elsewhere. Eight shows remained open on Broadway in theaters that maintained separate contracts with the union, though a ninth — “Dr. Seuss’ How the Grinch Stole Christmas! The Musical” — was reopened Friday after a judge granted an injunction forcing the theater to let the show run.
Broadway lost out on millions, posting ticket sales of $7.2 million for the two weeks that ended on Sunday. Last season, Broadway grossed $42 million for the two comparable weeks.
The city comptroller’s office reported that the strike was costing the city $2 million a day, which would mean almost $40 million in lost revenue over the two and a half weeks of the strike.
Many shows will resume performances tonight but it is up to the individual productions to decide if a day is enough to get back onstage. There are a variety of logistical obstacles to opening up a show that has been dark for two and a half weeks, from restarting complicated machinery to doing the dry cleaning, all of which may take longer than a day for some of the bigger shows.
At the center of this dispute were work rules in the stagehands’ contract that the producers’ league considered costly and inefficient. The league wanted changes to several rules, including those governing how many stagehands must come to work every day that a show is being loaded into a theater; minimum lengths of time for which stagehands can be called to work; and the kinds of tasks stagehands are allowed to perform during certain work calls.
From the beginning, Mr. Claffey said the union would be open to changes in return for benefits of equal value. But the league, pushed by a more aggressive generation of producers, was determined to cut labor costs.
For months the sides bargained, and some changes were made, if not the major ones the producers originally sought. And in the last few days, the negotiations came down to how much the union thought these changes were worth.
The sides met for three long days at the law offices of Proskauer Rose, the firm representing the league, where they calculated the value of each other’s offers and went back and forth in old-fashioned horse trading to arrive at a series of wage increases that both sides could live with.
Neither side released details of the settlement.
But among the changes the league was able to achieve, according to officials involved in the talks, was a daily minimum of 17 stagehands on the load-in, the lengthy and costly period when a production is loaded into a theater. In the recently expired contract, producers would set a number of stagehands needed for a load-in — say, 35 — and all of them would have to stay every day for the entirety of the load-in, an arrangement that producers said often left large groups of stagehands with nothing to do.
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The league was also able to gain an extra hour on the continuity call, the hour before or after a performance when stagehands perform duties related to that performance. In the old contract, any work that took longer than one hour required a minimum four-hour work call. In the tentative deal, stagehands can be called for two hours before a performance or for an hour before and after, though they would earn double for the hour after the show.
In return for these changes and others, union members would get yearly raises well above the 3.5 percent that the league had been offering.
The league was determined for these negotiations to be different from past talks, raising a $20 million fund to weather a work stoppage, declaring a deadline and floating the possibility that it would lock the stagehands out.
The talks, which were at times acrimonious, broke down in early October, with both sides presenting what they called final offers. On Oct. 12, the stagehands voted unanimously to give union officials authority to call a strike; four days later, the league announced it was imposing parts of its final offer on the stagehands, and the scene was set.
On Nov. 8, Thomas C. Short, the president of Local 1’s parent union, gave Local 1 strike authority and the next day he ordered the stagehands to walk out. The strike began at 10 a.m. on Nov. 10, a Saturday.
The mayor offered to provide a mediator and a neutral place to talk, an offer that the union repeatedly declined.
The latest round of talks came about after a series of back-channel conversations between league members and union officials. The two sides met until just before dawn on Monday, recessed until that evening and went for a second all-night session that ended after dawn on Tuesday. Then, after what union officials called a “rain delay,” the final day of talks began yesterday morning with the contentious financial issues still to be resolved.
Asked about the protracted length of the negotiations, Mr. McGarty said: “There were a lot of issues that had to be ironed out one at a time.”
The league seemed happy with the outcome, or at least happy that the strike was finally over. “Everyone was thrilled,” said Alecia Parker, an executive producer of the musical “Chicago” and a member of the league’s negotiating committee. “Everyone was shaking hands.”
Dear Brothers and Sisters,
Please be advised that the article that appears in the New York Post today, Wednesday, November 28, under the byline of Mr. Michael Riedel is completely false, inaccurate, and incorrect. Please disregard the information contained in his column.
The Local One negotiating committee is meeting today at 10 AM as previously announced.
In Solidarity,
Robert C. Score
Recording-Corresponding Secretary
By CAMPBELL ROBERTSON of the New York Times
Photo by Sara Krulwich of the New York Times
Published: November 28, 2007
Negotiations are scheduled to resume this morning between the stagehands’ union and the league representing Broadway theater owners and producers after a one-day hiatus that was described by a union spokesman as a “rain delay.”
But within hours, they announced that they would be coming back to the table for more negotiations today, the 19th day of a strike that has left 26 Broadway shows dark and cost the city tens of millions of dollars.
The league announced that all performances of shows affected by the strike had been canceled through matinees today.
While the talks are apparently in the endgame, it’s an endgame that could last for quite a while, said officials who are involved with the negotiations on both sides.
Discussions about wage increases are usually considered the final stages of a labor negotiation, but the gap between the sides that has existed all along is still very much there, the officials said.
The situation is fairly simple: The league wants changes to a number of work rules in the stagehands’ contract, including restrictions on rehearsal time and other nonperformance-related duties.
The union, Local 1 of the International Alliance of Theatrical Stage Employees, has agreed to many of the changes, or variations of them, and has set what it considers just compensation in wage increases and other areas for their agreeing to the rule changes. The league considers the union’s price tag unreasonable.
Tensions were apparently somewhat high in the talks, which have been taking place at the law offices of Proskauer Rose, the firm representing the league.
About 2 a.m. yesterday, a union official who was outside with other officials for a cigarette break got in a fistfight with a panhandler who was walking around 48th Street.
In the two and a half weeks of the strike, producers have lost out on millions, while stagehands — and the members of other Broadway unions, including actors, musicians, hair and makeup artists and ushers — have been getting by on strike pay, considerably less than what they would be making if they were at work.
Please consult the Local One Hotline at 646-459-1916 or the Local One web site for any additional updates.
The Local One Negotiating Committee remains committed to achieving a fair and equitable contract.
Thank you for your support and understanding.
By CAMPBELL ROBERTSON of the New York Times
Published: November 27, 2007
The stagehands’ union and the league representing Broadway’s theater owners and producers resumed talks last night after a 12-hour break from a marathon session the day and night before.
As of 8:30 p.m., the two sides were still in negotiations at the Proskauer Rose law offices on 48th Street and Broadway. The firm represents the league.
The talks that began midmorning Sunday were the first by the two sides in a week. The session lasted nearly 20 hours, ending at daybreak. For some, that was a promising sign that an end was in sight to the 17-day stagehands’ strike, which has darkened most of Broadway.
But people involved in the talks said that while progress was being made, it was slow and incremental.
The two sides have come to an agreement on the rules that apply to the load-in, the costly and often lengthy period when productions are moved into theaters. But they are still bargaining over the rules governing rehearsals and other kinds of work calls for productions that are up and running. Wage increases, usually one of the final issues in a labor negotiation, have yet to be seriously discussed, people involved in the talks said.
The strike has cost the city $2 million a day in lost revenues, according to estimates by the city comptroller’s office, though the league says the figure is much higher. Twenty-six shows have been left dark.
Another, “Dr. Seuss’s How the Grinch Stole Christmas! The Musical,” reopened on Friday after a judge granted an injunction forcing the St. James Theater, where the show is playing, to let the show run.
Officials from the Jujamcyn theater chain, the owners of the St. James, appealed the decision and had initially sought to stay the injunction. But yesterday they told the producers of “The Grinch” that they would not seek a stay, and that the show could remain open for its entire scheduled run through the holidays.
Photo courtesy of the New York Daily NewsBy CAMPBELL ROBERTSON of the New York Times
Published: November 26, 2007
Talks in the Broadway strike resumed yesterday between the league representing the theater owners and producers and the union representing the stagehands.
Around 8:30 p.m., Bruce Cohen, a spokesman for the union, emerged from the negotiations and said that both sides were working very hard and that it would probably be a long night. As of 5:30 a.m., in th 19th hour of negotiations, they were still meeting.
The talks to end the strike, which has left 26 theaters dark for 16 days, were being held at the law firm of Proskauer Rose.
Yesterday was the first time the two sides had held formal negotiations since talks broke down the night of Nov. 18. Shortly after those talks ended, the producers announced that all shows affected by the strike would stay dark through Thanksgiving week.
The city comptroller’s office has said that the strike, which began Nov. 10, costs the city $2 million a day, but officials from the League of American Theaters and Producers place the cost much higher. Last year, Broadway pulled in around $42 million in grosses over Thanksgiving Week and the week before.
Some of the main issues the two sides were bargaining over involved the rules governing shows that are up and running. The league and the union, Local 1 of the International Alliance of Theatrical Stage Employees, were close to a compromise last week on the rules that apply to stagehands during the load-in, the costly, lengthy period when a production is being set up.
Saturday, November 24, 2007
Dear Brothers and Sisters,
Please be aware that a meeting has been scheduled with the League of American Theatres and Producers in regards to the contract negotiation for Sunday, November 25 th. The exact time and location will be determined shortly
Local One thanks all the community businesses and organizations for their unwavering support for all the Brothers and Sisters, family members and volunteers manning the picket lines
The Union has received letters of support from Local 2 IATSE, Local 4 IATSE, Local 16 IATSE, Local 19 IATSE, Local 751 IATSE, Local 251 IATSE, Local 340 IATSE, Local 534 IATSE, Local 600 IATSE, Local 784 IATSE, Local 927 IATSE, the New York City Central Labor Council, AFL-CIO, the McManus Midtown Democrats, the Detectives’ Endowment Association, the Society of Stage Directors and Choreographers, the Stage Managers’ Association, NYS Senator Thomas Duane, the Ohel Foundation, the Association of Pennsylvania State College & University Faculties and many individuals from around the United States who strongly identify with our struggle to maintain middle class values and understand our concerns for the future of our families Corporate greed reaches far beyond the boardrooms of theatrical producers and theatre owners. The people of New York City and citizens throughout the United States have clearly demonstrated their support for Local One and have stated unequivocally that our struggle is their struggle.
The support from the members of Actors’ Equity Association and Local 802 American Federation of Musicians continues to be an inspiration to us all at Local One. The bonding of the three Unions is a clear example that unity brings with it a great of strength.
We also want to thank the following elected officials who have shown their support by joining the picket lines: NYS Senators Bill Perkins, Eric Schneiderman and Thomas Duane, NYS Assemblyperson Linda Rosenthal, City Council Members Robert Jackson and Eric Gioia. Their support is greatly appreciated.
In closing, the Union is standing strong, Brothers and Sisters. You, the rank and file, and the members of all your families generate that strength. The Union salutes you for your understanding, commitment and solidarity.
On behalf of the Local One Executive Board,
Robert C. Score
Recording-Corresponding Secretary
A union of interests, purposes, or sympathies among members of a group; fellowship of responsibilities and interests: “A downtrodden class … will never be able to make an effective protest until it achieves solidarity” (H.G. Wells).
November 20, 2007
Dear Brothers and Sisters,
Please be advised that President James J. Claffey, Jr. has ordered the picket lines to come down at the St. James Theatre so that the production of “The Grinch” can proceed. Please be aware that the producer of the show, Mr. James Sanna of Running Subway Productions, has had no voice, no vote and no participation in any of the contract negotiations with the League of American Theatres and Producers. Mr. Sanna has had no input in trying to resolve the contract negotiations and because of that, President Claffey felt it was unfair for “The Grinch” to suffer.
The considerations to pull the picket lines were as follows:
“The Grinch” was simply not part of the equation to affect the outcome of the contract negotiations. Local One wishes, at this time, to show not only “The Grinch” some good will but the theatre going public as well.
Fraternally,
Robert C. Score
Recording-Corresponding Secretary
Photo by James Estrin/The New York Times
The stagehands’ union, the International Alliance of Theatrical Stage Employees, picketing Thursday on West 44th Street.
By CAMPBELL ROBERTSON New York Times
Published: November 16, 2007
A list of some of the shows currently running that are recommended by Times theater critics.
But tomorrow is a big day. Local 1, the stagehands’ union, and the League of American Theaters and Producers are to sit down for talks at 10 a.m. It will be first round of negotiations since Nov. 8, and the pressure is rising.
Along with the week between Christmas and New Year’s Day, Thanksgiving week is one of the busiest and most lucrative of the year. In 2006, Broadway did $23.3 million in business that week.
The general sense around Broadway, as producers have been reporting their losses to the league, is that the past week was rough but not disastrous. The loss of another week of shows — and the Thanksgiving week at that — and the loss of another week of paychecks for the people working in the shows are another matter altogether.
For a few shows — like “Wicked,” “Jersey Boys” and “The Lion King” — a dark Thanksgiving week would mean hundreds of thousands of dollars in lost profits. But those shows have huge advance sales that help ease the blow.
Producers of shows, like “The Drowsy Chaperone,” that have less money in the bank would have to take a serious look at the numbers before deciding to reopen if the strike continues for two weeks or more.
Then there are shows that are strictly limited engagements, like “Cyrano de Bergerac,” which operate on budgets carefully calibrated to the length of the show’s run. Every no-show of “Cyrano” is probably an unrecoverable loss.
With all this at stake, two big hitters are flying in from the West Coast for tomorrow’s meeting. Robert W. Johnson, a top labor relations executive from Disney, which helped arrange this round of negotiations and is respected by officials on both sides, will be sitting with management, though Disney’s theatrical division is not a member of the league.
Thomas C. Short, the president of the International Alliance of Theatrical Stage Employees, the parent of Local 1, will be sitting on the labor side of the table.
Most Broadway insiders refused to talk about the situation publicly, either because they were directed to do so by the league or one of the unions, or simply because they didn’t want to jinx the talks.
Meanwhile, the rank and file of Broadway is feeling the crunch. More than 800 actors, from the chorus girl to the Hollywood starlet, saw their salaries this week drop to $405, the strike payment given out by the Actors’ Equity Association. About 350 musicians are receiving loss-of-work pay from their union. Local 1 would not comment on what the 350 or so stagehands on the picket line were being paid, but it is not what they make while working.
There is another, scarier prospect if there is a long strike: the possibility that theatergoers may lose interest in Broadway. The week after the musicians’ strike on Broadway in 2003, which cost the industry an estimated $5 million, grosses on Broadway actually surpassed what they were in the week before the strike. That was a four-day work stoppage, though, and it was in March.
“Everybody in the industry was acutely aware that getting people back into theaters after the musicians’ strike was a key priority,” said Jed Bernstein, the executive director of the league at that time and now a producer. “The habit of Broadway theatergoing for New Yorkers and tourists is not something we wanted anybody to break.”
