Musicals101's Theatre Blog - Nov. 2007
by John Kenrick
Nov. 24 - Strikes and Such
It still amazes me how many people resolutely cling to the sweet
state of knowing nothing. Few things are more thoroughly documented than
the history of disputes between American corporate management and
organized labor. For more than a century, the pattern in such
confrontations has been amazingly consistent. When a contract runs out,
labor leaders (after months or sometimes years of delay) reach the end
of their tether and call a strike. The press and major media then inundate
the public in a torrent of stories that paint labor as the embodiment of
evil, openly pushing for the public to support management.
Such has clearly been the case with two strikes currently plaguing
show business: Hollywood's writers and Broadway's stagehands. There are
major differences, but one major common factor -- both the Hollywood and
Broadway strikes are fueled by greed.
The screen writers want a percentage of the ever-growing income from
home video sales -- with everyone from actors to directors sharing such
residuals, this seems a fair request, but don't count on the writers
having an easy time of it. (Media producers give up a penny of profit?
Are you mad?!?) Most of the media coverage -- even in such ostensibly
liberal outlets as The New York Times -- is already suggesting the
writers will lose out if the strike lasts much longer. Of course, such
pessimistic media coverage has often crowed loudest just before big
management concessions, so I remain hopeful that the screenwriters will
stick to their guns.
On the other hand, Broadway stagehands want to hold on to the bizarre
privilege of deciding how many of their union each Broadway production
must hire -- a practice that has led to a number of senior men being
handsomely paid for little if any real work. At the same time, Broadway
producers (led by that sad bloodsucker Mel Brooks) feel it is their
right to charge hundreds of extra dollars per ticket and keep all the resulting
windfall profit, not passing on so much as a penny to the people who
make a show happen night after night. In other words, both sides in this
particular dispute are making unreasonable demands -- and both deserve a
swift kick in the ass. However, it is Broadway's ticket buyers who are
taking the beating right now, as well as those workers and small
business owners (in restaurants, shops, hotels, etc.) who rely on
Broadway for their income.
Who will blink first? Your guess is as good as mine. But the nonsense
one hears in conversations around town -- and on the web -- suggests
that far too much of the public is clinging to ignorance. Don't just
swallow what a report in a newspaper or a featurette on CNN feeds you! A
Mississippi of bull flows on both sides of these strikes. Dig a bit,
and if you must take a position that and least come up with
one that is actually your own.
Of course, the resolute ignorance of the public may be an incurable
condition. Presidential politics is founded on it.
Dec. 6, 2007 - Back to Normal
A week since the stagehands strike ended, and even though both sides
were forced to give in on key issues (in effect, blinking
simultaneously), the planet spins and the world goes 'round. And morons
are still forking over top dollar to see crap like Young Frankenstein.
At moments like this, one cannot help recalling the words of Grand
Hotel: "People come, people go, nothing happens." As it
turns out, plenty happens, but damn near nothing changes.
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