Battle Over Live Music: It's The Pits

ON STAGE

February 09, 2003|By FRANK RIZZO; Courant Staff Writer ON STAGE

Does size matter?

That's the focal point of new contract negotiations between theater producers and musicians. Both sides seem headed for a strike in a few weeks that could be one of the most disruptive in Broadway history, endangering the financial engine that is at the heart of the theater district: the musical.

Producers do not want minimums for the number of musicians they use in their shows. The musicians' union wants to protect jobs and the tradition of live music. Both sides are preparing for a strike. The current contract expires March 2.

It's easy to be misled that it's all about the numbers. In the talk about minimums and control, we shouldn't forget what's most important about the issue: the music.

Some background.

Traditionally, the musicians' union contracts have determined the number of musicians in each Broadway theater, depending on the size of the house.

Local 802 of the American Federation of Musicians says the minimums maintain the musical integrity of the show. They fear that producers, if allowed, would cut the size of the orchestra and use prerecorded music or electronic sound supplements to make up for the missing players in the pit.

The League of American Theaters and Producers calls the minimums nothing more than forcing producers to hire unnecessary musicians. Producers are asking why they should be forced to pay for 25 musicians when the show doesn't really demand it. With more shows going for a more pop sound with greater use of electronic instruments, is that so unreasonable a request?

But 10 years ago, the union made the minimum demands more flexible in deference to the growing variety of forms and styles of music. Producers could simply appeal the minimum set by the contract to a panel of musical experts.

So even a show like ``Mamma Mia!'' could make a convincing case that despite the huge size of the Winter Garden Theatre where it is playing, the orchestra size could be reduced because of the electronic pop sound that made up the Abba score. No problem. An exception was made. Despite the mammoth gross potential of the show, which has become an international blockbuster, producers were allowed to make even more money with a smaller orchestra. Concessions have also been made for such shows as ``Smokey Joe's Cafe,'' ``Footloose,'' ``Chicago,'' ``Aida,'' ``Movin' Out'' and the upcoming ``Urban Cowboy,'' most of which have a more contemporary pop sound than the full, lush orchestral arrangements of traditional Broadway musicals.

Producers say it should be left up to them and their creative teams to determine how many musicians they need for each show. Notice the billing here: producers first, everyone else second.

Unless you're an Elton John, Billy Joel or Stephen Sondheim, the artistic decision regarding the size of orchestra would be not be primarily in the hands of the artists but the producers, who with rare exceptions, don't spend more money on a show unless absolutely necessary. But for composers without the clout of these men, especially younger ones eager to get a show produced on any condition, one can imagine the decision would be far from artistic. ``Well, we just can't afford to produce the show if you want 20 musicians,'' one can hear a producer saying to the composer. ``We just have to get by with less. If not, no show, kid.'' How many composers can walk away at that point? Getting your work even this close to Broadway is a Herculean task involving years of sweat and sacrifice.

There seems little room for compromise at the moment with each side playing hardball and waging aggressive p.r. campaigns. The musicians union commissioned a study that said most audiences wouldn't pay the current ticket prices if the size of the orchestra is reduced. Ninety-one percent said no way to current ticket prices if musicians were replaced entirely by taped sound.

But the reality of an empty pit looms large. Broadway producers have already made provisions to use recorded music if there is a strike. (Indeed, high-tech music companieslike Real Time Music and Music Arts Technology are betting on it.) Will audiences revolt? It will be interesting to see if they really care if it's live or Memorex.

After all, orchestras have gradually shrunk in many theaters around the country without meeting much protest. (In Connecticut, Goodspeed Opera House orchestras have decreased from 15 in the 1970s to seven for its last show, ``King of Hearts.'') Electronic music has replaced some musicians outright and musical ``enhancements'' are commonplace to ``sweeten'' the sound of live musicians (without paying for additional salaries).