agma “likely” to strike nyco
The American Guild of Musical Artists said in a memo to members that “given the changes that George Steel wants to make in our contract, members are advised that the possibility of a strike against New York City Opera is likely.” At issue is what AGMA characterizes as Steel’s intention to eliminate guarantees of work for chorus and production staff. [via Bloomberg News]
Any AGMA members out there willing to forward a copy of the memo to lacieca@parterre.com?
Unless there are performers, there’s no work, at all. A renegotiation of contract is both a) legally possible, and b) prudent, for both parties involved.
You can’t milk a dry cow. If there’s no money, then trying to hang on to a contract that cannot possibly be fulfilled. Bankruptcy, which is basically what NYCO is in a state of, is something somewhat different from deliberately breaking a contract that you have the means to fulfil, and there are legal precedents. If the previous contracts didn’t make stipulations to allow for changes (both positive and negative) then frankly, both sides need better lawyers.
Err, make that “unless there are performers AND performances” — the typing gremlins seem to have gotten into my keyboard.
AGMA needs to sit down and shut up. I say that as a member.
They’re taking the position that NYCO won’t survive a strike, a strike to get their (chorus) members a guarantee of work. So, if they strike and NYCO folds, what are the (chorus) members’ options?
AGMA needs to remember that they also represent soloists, soloists who have not been paid for working at NYCO while the company was not performing. If they don’t remember that, soloists need to consider other options for organizing.
The reason AGMA is taking such a hard line is because they say re-opening the contract is illegal at this point. Their basis for that argument? The arbitrator listed in the contract died last fall. Since he died, the contract cannot be opened. AGMA apparently didn’t look for a new arbitrator after the original one passed away. So now they are saying tough luck.
It is ridiculous that AGMA is taking this position when it has the potential to hurt their own members. Hopefully at the meeting on the 18th common sense will prevail and AGMA will do what they need to do, re-negotiate and, like all the other unions in the country, make concessions to keep their members employed.
and completely throwing out the existing contract (which it seems is what Steele wants to do) is in no way advantageous to the Union performers who previously negotiated in good faith. If there is a middle ground to persue, then of course that would be great, but if the report is true it sounds like what he really wants to do is rip the chorus contract to shreds, and of course the Union is going to object, vociferously.
dismantling the CityOpera chorus had been a long-term goal of the previous administration, and they did everything they could to use the standing chorus as little as possible (they would fill all chorus spots in new productions with extra choristers, for example). It’s understandable that the Union would bridle at yet another attempt to destroy a standing chorus at CityOp. As a Union Member as well, the idea that the Union would stand idly by as permanent contracted performers were dropped is anathema to me. The Union should negotiate and be accesible, but not lie down and take it while they are run over by a bus.
@14, so the union is for all or nothing? The contract should be opened and re-negotiated. AGMA claims that since the orchestra contract will be negotiated so soon, they have no place to try to re-negotiate theirs. Why wasn’t an effort made to re-negotiate between when Steel came on and now? Why wasn’t another arbitrator sought? AGMA dropped the ball on this one and now their members will suffer.
Everyone should make concessions. Soloists, choristers, stage managers, orchestra members, crew. Re-negotiate a temporary contract for two-three years until the company has recovered from the mismanagement by the board. No, it isn’t the workers’ fault, but what is the alternative? A shuttered opera house where no one can work?
There are lots of questions that need to be answered by both parties.
La Cieca:
As quite often, you’ve had the best suggestion , so far.. to “…Go see Das Rheingold”, ..to see the outcome of a broken contract–love it..!! (and pretty true….)
While I’m still on the side of the Union, until I see some valid reason not to be…BUT at the same time, still a very fierce/loyal long-time NYCO fan, who would find the disbandment of the company very tragic(alng with having a number of friends who will be on the un-employment rolls if the Company fails)..I really hope the Union Fafner(s) don’t murder their brother Fasolt(s) in one way or another, in the up=coming negotiations….
I think AGMA’s arguments make a lot of sense. Steel is trying to put these people on a half-time pay schedule but still expects them to be available whenever he wants them. My impression is that NYCO chorusters already make significantly less than the Met chorus. And yet, they must be pretty good, didn’t NYCO’s chorus director leave for the Met over a year ago?
If NYCO can “re-open” the contract whenever they want, what good is it?
I wonder if NYCO is really in such trouble since so many posters here have said Steel is raising big big money on the cocktail circuit. If they are raising big money why shouldn’t that money go to the musicians who actually make the music?
However, if NYCO is in trouble they should bring Mr. Steel’s salary in line with what Peter Gelb is paid at the Met. Mr. Gelb’s salary is %0.43 of the overall budget of the Met. Paul Kellog’s was apparently 1%. Using these numbers as brackets and estimating NYCO’s current budget at 10M than Steel should be making between $75 and $100K. The reality is he is probably making around $400K which is a pretty good salary for a beginner and 100K more than the Director of Dallas.
Gelb took a 10% voluntary cut, but I haven’t heard any stories about the philanthropic Mr. Steel cutting his salary by even 1%.
As the saying goes, what’s good for the goose is good for the gander. Or to put it another way; musician, heal thyself.
I’m sure Mr. Steel could afford to give back at least 100K. The Director of Dallas makes around 200K so we can estimate he took a 200K increase to come back to NYCO after his wham-bam thank you Ma’am visit to Big D.
Let’s not forget Mr. Steel is a musician and they are used to tough times. He can easily get some conducting gigs during his down time, or sing in a church choir, write a book about his experiences as Leonard Bernstein’s roommate at Tanglewood, or contact Dallas about working there part-time.
I guess they haven’t found a replacement in Dallas yet. We can only hope they have their thinking caps on and are hiring Robin Thompson who could bring some of the great NYCO productions like “Semele” or “Capriccio” or “Margeret Garner” down there and finally give them something to brag about. Unless he is sailing in the Mediteranee with Paulo Szot….ooh I think I just had an opera-porn moment.
You can check all my numbers at http://www.charitynavigator.org/index.cfm?bay=search.summary&orgid=4229
@ #13 – Togu makes the salient point.
How can AGMA claim it is working in the best interests of its members when it openly admits that a strike will ruin City Opera and, ipso facto, eliminate the source of any income at all? Is anyone thinking of 2013/14? Do those chorus members want jobs then? What about 2014/15?
The Union can certainly make stipulations about the length of a newly renegotiated contract and try to ensure that concessions made now do not set precedents for future negotiations.
This transcends the adage of “biting the hand that feeds you”. If City Opera goes under because AGMA insists on digging in its heels, then those artists will have won a very piddling battle and lost a very sad war.
@ #18 – Longtimelistener
I am sorry, sir. Much too much of your post is nothing but conjecture and circumstance and what you “haven’t heard” is hardly proof to the contrary…