As a long-time theater aficionado and former employee of a small Off-Broadway company, I have witnessed firsthand the financial struggles that these organizations face. The pandemic only exacerbated these issues, leading to mass layoffs and uncertainty about the future.
As an avid theatergoer and supporter of the arts, I’m thrilled to see IATSE taking a stand for the Off-Broadway workers. They’re working tirelessly to secure better compensation and have a voice in shaping the evolving theater scene.
So far, employees at the commercial productions of “Titanique” and “Little Shop of Horrors,” along with nonprofit theaters like Vineyard Theatre and Atlantic Theater Company, have successfully unionized. Notable shows from these companies include “The Band’s Visit” and “Kimberly Akimbo.” The Public Theater, a prominent nonprofit theater company in the country and the birthplace of productions such as “Hamilton” and “A Chorus Line,” has also seen worker organizing victories.
Five production companies have identified IATSE as the union representative for their employees. Negotiations are ongoing at all theaters, but no collective bargaining agreements have been finalized. IATSE aims to expand its membership, yet faces challenges with layoffs, increasing expenses, and concerns about potential industry repercussions.
Off-Broadway might not be as heavily unionized as Broadway, but several Off-Broadway workers are still union members. Designers, for instance, belong to IATSE’s local unions, specifically USA 829. The Off-Broadway League handles negotiations with this union on behalf of designers. For the workers under IATSE’s purview, which include electricians, carpenters, painters, and wardrobe/costume dressers, IATSE takes charge of the negotiations.
The decision to unionize came about after IATSE organized a meeting in July 2023, and invited a handful of workers, only to have about 100 show up. The meeting, which was also happening amid the dual writers and actors strikes, served as a catalyst for workers who had been mulling the idea for years.
For several years in New York, there have been quiet discussions among Off-Broadway workers about their readiness and inclination to unionize. However, it was unclear how to initiate this process or what the potential risks and rewards entailed. Mikey Stevens, a freelance carpenter who has primarily worked at the Atlantic Theater Company, shared these thoughts.
One concern Stevens expressed was that since most workers functioned independently, employers might have responded negatively to any perceived resistance by excluding these workers from their email notifications, which are utilized by theaters to invite staff when extra help is required.
Workers looked to form unions in part for greater employment stability. A major motivation was access to better healthcare plans, including portable insurance that would move with them from one job to another. Additionally, they aimed for increased wages and improved retirement benefits.
Many Off-Broadway workers, including Shane Crowley who is primarily an electrician at The Public Theater, face the challenge of aging out of their parents’ health insurance and finding affordable healthcare as freelancers. This is a significant issue for us.
As a theater worker in the industry recovering from the pandemic, I can’t help but feel anxious about the potential for layoffs as audience numbers remain low and costs rise. The uncertainty of my job security weighs heavily on me. However, Dan Little, the lead Off-Broadway organizer for IATSE, offers a glimmer of hope. He explains that forming a union and negotiating a collective bargaining agreement doesn’t automatically prevent layoffs. Instead, it empowers us as workers to be part of the conversation about how best to address the revenue shortfall and find solutions together. This gives me a sense of control in an otherwise uncertain situation.
“According to Little, the American theater scene is facing a critical juncture. Several companies have announced breaks, let go of staff, or even closed down.”
Last year, numerous nonprofit theaters around the country started undergoing significant downsizing efforts, such as laying off staff members. For instance, Center Theatre Group in Los Angeles dismissed 11 percent of its workforce, while The Public Theater let go of 19 percent of their employees.
More recently, just following the June 16 Tony Awards ceremony, Playwrights Horizons announced layoffs for three staff members right away, and two more were planned towards the end of the 2024-2025 season, as reported by BroadwayWorld.
IATSE has been holding talks with each employer separately instead of collectively bargaining with the Off-Broadway League.
During the wave of job cuts, some individuals in the Off-Broadway sector express concern over the IATSE union because of the potential increased expenses that accompany a union labor force and how it might affect our industry.
“Joey Mond, commercial Off-Broadway shows’ general manager, expressed worry over any factor potentially hiking up production costs for producers. Producers, in turn, are open to exploring methods to enhance workers’ living conditions but acknowledge the current financial strain and high production costs of theater.”
Producers face not only increased production expenses and a sluggish return of audiences, similar to Broadway, but also higher wages for workers to compete for labor in the post-COVID era. Although some Off-Broadway shows like “Oh, Mary!” and “Job” have successfully moved to Broadway, Monda believes these are exceptions rather than the norm, and the finances remain challenging for most productions.
“Despite some notable victories for businesses in the latest theatrical season, most Off-Broadway commercial productions ultimately end up losing money,” Monda explained.
Stevens counters the cost-related criticisms by explaining that increasing expenses isn’t the reason behind their decision to form a union.
“Stevens explained that we value the workplaces where we are employed and don’t want them to shut down, as it would mean losing our jobs. Therefore, we’re not solely focused on taking all their money.”
Crowley contends that keeping a stable workforce is advantageous for theaters because it enables employees to continue earning a living in the industry instead of having to depart, as many did during the pandemic. Additionally, a consistent team helps theater companies and productions preserve valuable institutional and specialized knowledge about their particular venue.
“Crowley explained that by investing in a long-term, eco-friendly workforce, theaters will reap greater benefits in the future, despite initial cost increases. It’s important to note that labor expenses aren’t the sole reason for rising costs today.”
As an avid theatergoer, I’ve been following the developments among various companies regarding union recognition. The Vineyard Theatre took the commendable step of voluntarily acknowledging the union, while the Public Theater maintained a neutral stance throughout the process. Ultimately, the workers held their election under the supervision of the American Arbitration Association, and with great enthusiasm, they voted in favor of unionization – an impressive 156 to 22 in my favor!
In the other instances, IATSE requested that the National Labor Relations Board oversee a confidential vote among the employees. At “Titanique,” all six workers supported the union, while 16 did so at “Little Shop of Horrors,” with one worker opposing and two votes being disputed by producers and their legal counsel. Meanwhile, there were 129 in favor and one against at the Atlantic Theater Company.
As a seasoned labor negotiator with years of experience under my belt, I can tell you that the intricacies of collective bargaining agreements never cease to amaze me. The latest round of negotiations we’re having is no exception. Little, our lead negotiator, informed us that while we’ve made significant progress on many issues, the details of our healthcare plan are still up in the air.
Even so, IATSE leaders are optimistic about what it could look like moving forward.
As a gamer, I can relate this to our community where teamwork is essential for success. Theater is like our virtual world, alive and evolving, but it’s more than just an individual effort. We, the production crew, crave collaboration with industry leaders to shape its future, ensuring it benefits everyone involved.
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2024-07-20 16:25