Edit: Literally just as I published this, the Met and various unions announced that they have extended negotiations for 72 hours and at least temporarily averted a lockout. Keep an eye on developments via Google News and on Twitter. Here’s hoping this entry becomes irrelevant, and soon.
Click here to read the Met’s statement (which is, at this early juncture, the best I have right now, since no news outlets have had time to write up the development, and I need to go to bed).
It looks like we’re rapidly hurtling toward a Met lockout, and so to…er, celebrate isn’t quite the right word…to commemorate…to observe the occasion…I thought I’d jot down a few informal tips for various stakeholders. Your mileage may vary with these; they are just some preliminary thoughts from the perspective of one music-loving audience member who was present for the length of the knock-down drag-out hell-fight that was the Minnesota Orchestra lockout. I encourage my wise readers to add their their own survival tips in the comment section.
- Recognize how devastating a shuttered or diminished Met would be, not only to you personally, but to your city and even to your country.
- Connect with other organizations who have been through similar implosions and who have helped to drive constructive resolution. I’m thinking about Save Our Symphony Minnesota and Save Our Symphony Detroit, especially. They are nice people; they care about art; they can help you.
- Remember that in this day and age all it takes is a Facebook page to create an effective gathering place for concerned patrons (see: Save the San Diego Opera). Social media is especially effective in the music world, where everyone is only a degree or two of separation away from each other.
- If you’re a writer, and you’re clever, and you play your cards right, you could make a career out of this. Camp on the story, cancel your plans for the next few months (I’m only half joking about that part; *speaks from experience*), and write. There is a massive audience hungry for information about what is going on, and that audience will only grow. Writers will need to be on this thing full-time to interpret all the spin and rapid-fire developments.
- Try to absorb all the information you can – from all sides. Be skeptical of everything.
- I know this isn’t a very polite question to ask, but – who is the most important stakeholder in this dispute? I mean, obviously everyone in an arts organization is important, but if, gun to your head, you had to choose The Single Most Important Stakeholder, who would it be? It’s not Peter Gelb. It’s not the board. It’s not the musicians. It’s not the union leaders. It’s you. Without an audience, there’s no reason to have grand opera or indeed the Met. You are the most important stakeholder. Act like it.
H/t Drew McManus, a great Peter Gelb quote:
“Once the dust settles,” he added, the musicians “don’t have to love me to play well.”
The public has to love you.
Not just major donors. The great unwashed public. Y’know, the people you need to fill that gargantuan 3800-seat cavern week in and week out. The paying customers you’re now so eager to lock out, disrespect, and condescend to.
2014 has shown that bad things can happen to hated music CEOs, and we’re not even seven months through! Things like screams of “fire Henson!” emanating from Orchestra Hall in Minneapolis, or the crowd heckling San Diego Opera head Ian Campbell after he announced he was shutting that company down. The actions and attitudes of both of these men led to widespread public anger and decreased support of their respective institutions. (Until their departures, of course.)
So some friendly advice:
You’re thinking of your labor dispute as a two-way tug of war. Surprise!: it’s a three way. The third team is the public. They’re just coming on the field now. If you keep screwing up your PR, two of those teams will be pulling against you.
Another summer, another lockout looming!
This time it’s the Met’s. If you’ve been following my Twitter account, you know my thoughts. (There I’ve posted such in-depth analyses as Who looks at the Minnesota Orchestra negotiations and says, “I want THAT for my non-profit”? and I don’t think Peter Gelb got the memo about the power of audience advocate groups. Anyone want to deliver that memo? It’s kinda important.)
But as the deadline grows nearer, it’s time to dig deeper into the story. Let’s turn to the New York Times‘s July 23rd article, “Met Opera Prepares to Lock Out Workers.” Met General Manager Peter Gelb, here’s your chance to convince me you’re not Michael Henson 2.0. As you speak, keep in mind Song of the Lark Lockout Tip Number One:
When you’re preparing to initiate a lockout, don’t come across as a dick.
So. The floor is yours.
In letters to the company’s unionized workers, Mr. Gelb, who is seeking to cut pay and benefits, wrote that “if we are not able to reach agreements by July 31 that would enable the Met to operate on an economically sound basis, please plan for the likelihood of a work stoppage beginning Aug. 1.” He added, “I sincerely hope to avoid such an unfortunate event.”
An unfortunate event? An “unfortunate event” is having to take a detour during construction season. An “unfortunate event” is getting caught in the rain without an umbrella. An “unfortunate event” is going into a bakery craving cherry doughnuts and finding out the guy in front of you just bought the last cherry doughnut.