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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