Don’t Let the Unions Call the Tune
IATSE/Local One’s action has temporarily shuttered New York’s famed concert hall
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Within hours of when its season-opening concert by The Philadelphia Orchestra was set to begin, Carnegie Hall was forced to cancel that performance Wednesday after its stagehands, represented by IATSE/Local One, went on strike. The unprecedented walkout follows a week of terrible news for classical music in the U.S., in which the music director of the Minnesota Orchestra resigned over its musicians’ contract disputes, and New York City Opera announced it was filing for bankruptcy, ending its 70-year run as “the People’s Opera.” The Philadelphia Orchestra, locked out of Carnegie and still recovering from its own bankruptcy, announced that it would instead present a free concert at its home in downtown Philadelphia.
The dispute at Carnegie Hall follows a year of negotiations that have centered on the expansion of Local One’s control from the Carnegie stage into the hall’s new education wing, set to open in fall 2014. “Carnegie Hall Corporation has spent or will spend $230 million on its ongoing studio tower renovation, but they have chosen not to appropriately employ our members as we are similarly employed throughout the rest of Carnegie Hall,” writes James J. Claffey Jr., president of Local One, in a statement to the press issued on the union’s website. “Carnegie Hall Corporation continued for 13 months to fail to acknowledge the traditional and historic work that we perform and after no significant progress, we found it absolutely necessary to take action to protect the members that we represent.”
In response, Carnegie says that the union’s demands would compromise the hall’s mission by diverting significant funds away from education into stagehand fees. “In opting to strike, the stagehands have rejected a proposed new agreement that includes annual wage and benefit increases and continued jurisdiction throughout Carnegie Hall’s concert venues.” Calling the demand “unprecedented,” Clive Gillinson, the executive and artistic director of Carnegie Hall, adds that “the stagehands have one of the most lucrative contracts in the industry,” and the planned activities for the education spaces “have nothing to do with the performance-related work they do in the concert halls.”
Mr. Gillinson’s reply only scratches the surface of frustration shared by arts organizations around the country in the grips of union control. For over a century, Local One has been collective-bargaining the life out of New York’s performing arts. Just how much does this union of carpenters, electricians and prop masters bleed from city arts organizations? Carnegie Hall’s tax returns for its 2010 season, its most recent publicly available records, suggest an answer. Non-profits are required to itemize the top compensation for its officers, directors, trustees, independent contractors and employees. At Carnegie, five of the top 10 earners are stagehands.