The Guardian March 26, 2003


Broadway musicians strike a new tune

by Greg Butterfield

When you think of organised labour's power, you probably don't picture 
workers playing clarinets, trombones and French horns. But the 300-plus 
members of American Federation of Musicians Local 802 have just flexed 
their muscles in a big way.

On March 7, a multinational group of women and men who provide live 
entertainment nightly to thousands of Broadway theatregoers in New York 
went on strike against the League of American Theaters and Producers.

After a powerful rally near Times Square members set up picket lines in 
front of 18 Broadway musicals, including hits like "The Lion King," "The 
Producers," "Mamma Mia," "Hairspray" and "42nd Street."

Local 802 members said they were fighting for their jobs and the very 
survival of their union.

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 theatre bosses' plan to do 
away with live music on Broadway and replace live orchestras with pre-
recorded soundtracks.

As the strike deadline neared, production companies like Walt Disney Co  
with three musicals on Broadway, "Lion King," "Beauty and the Beast" and 
"Aida"  forced actors, stage hands, dressers and others to rehearse the 
shows to canned music.

"New York is the pinnacle of live music," said Brad Gemeinhardt, a musician 
picketing outside "Thoroughly Modern Millie."

"We can't really stand for them lowering the quality of the product at 
all."

Actors and other Broadway workers agree. They joined Local 802 in a 
petition campaign to "Keep music alive on Broadway". The campaign won 
support from famous actors like Bebe Neuwirth, Bette Midler, Chita Rivera 
and Joel Grey.

Local 802 had authorised a strike starting on March 1, but held off almost 
a week in hopes of reaching an agreement. Then on March 7 the bosses handed 
President Bill Moriarity a "final offer" demanding that the minimum number 
of musicians be cut to 15 per show.

The strike was on.

To the bosses' surprise, other Broadway unions, including Actors Equity and 
the International Association of Theatrical Stage Employees, refused to 
cross the Musicians picket lines. Instead they took up signs and picketed 
alongside their union sisters and brothers.

It was a new and exciting kind of production for Broadway workers, who've 
been forced to accept many take-backs since the 9/11 attacks, all to save 
profits for theatres and producers.

The League of American Theaters and Producers was forced to cancel all 
weekend shows for 18 musicals on the weekend of March 7  9, costing them 
an estimated $US4.5 million in lost revenue. Management's stonewalling also 
cost area restaurants, stores and hotels an estimated $US7 million in the 
strike's first three days.

On Monday negotiations resumed and by Tuesday morning a settlement was 
announced. The minimum number of musicians in 13 key shows was set at 18 to 
19. Most important, however, was the timetable. While the contract is for 
four years, this minimum holds for 10 years.

The musicians are now playing "Solidarity Forever."

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