In a recent interview with Tom Jamerson, assistant to the National Executive Secretary of AGMA, CS had the opportunity to ask a number of questions our readers have sent us in the past, regarding their union.
Classical Singer : When should a singer join AGMA? Why?
Tom Jamerson : We make a policy of an open union; however, it’s probably best for [prospective members] to join when they first receive a contract with an opera company. AGMA is a participant in the AFL-CIO’s Union Privilege policy. We send out mailings to active members in local areas, [with information on] auditions and new companies. We’re currently attempting to work something out whereby we can have new companies set up AGMA auditions.
When you sign a contract with an AGMA-signatory house, it stipulates you will become an AGMA member. The specifics depend on your performance location, but where permitted by law, it’s a condition of employment that you be an AGMA member. If you sign with a signatory company and are not yet an AGMA member, you should sign with the union at the same time you sign the company contract.
CS : : What about benefits for AGMA members?
TJ : : Plan A [insurance] is for fulltime people–choristers, and so on. In addition, many artists are on short-term contracts. Most sing with a company for five to six weeks. Plan B is a flexible medical reimbursement plan, whereby a contribution is made by the company on behalf of the artist to a specific account. This money is made available to the artist for reimbursement of medical expenses, including co-payments. For some artists, that money has been contributed for the past four to five years, and there is money sitting there for some artists that hasn’t been used. The IRS limits the time during which this money can be used to three years. If it’s not used in that time, it rolls into the general fund–the individual loses it, but the union doesn’t lose it. We want to make certain that people who have worked with regional opera companies have money in the account available to them. As I understand it , there is more than $1 million available. Plan B is a very important plan, [but it] must be utilized, because companies will be upset if it is not. A lot of people have used it–but more people need to use it as well.
The AGMA retirement plan is employer-contributed only. It is growing, [but] we want it to be in ALL contracts. We have some legal hurdles to cross first.
CS : : In the AGMA handbook you mention something called the AGMA Emergency Relief Fund (ERF); can you describe this program?
TJ : : The emergency relief fund is affiliated with AGMA, but it is a separate part from the union. AGMA members’ dues do not contribute to this fund; it’s strictly supported by contributions from the Theater Authority. The Theater Authority oversees (among other things) the benefit events that may exist across the country, and allows our artists to perform with those companies for free. In order for this to happen, the Theater Authority sets up a contract with nonprofit organizations, such as Jerry Lewis and several others, and first of all makes sure that it is a legitimate cause. Second, the TA makes sure that the artists involved are covered by insurance. Third, they try to make sure that two events don’t happen one on top of the other.
The TA provides seed money for AGMA’s ERF. The ERF is there to help artists who are in desperate need–not just with money, but also by networking and referrals to other areas and ways of helping. The ERF has limited funds, and is administered by its own board, separate from AGMA. Members’ dues monies DO NOT go to the ERF! We have asked members to contribute, but it’s not automatic.
CS : : What does AGMA plan in terms of future growth? Will the affiliation with AFM announced a year ago have any real impact on AGMA members? Several singers have written to our office asking us about AFM and whether or not AGMA might eventually merge with another union–would you care to comment?
TJ : : We spoke several years ago with AFM, as well as other “Four A” unions [The Associated Actors and Artistes of America (Four A’s) is the association affiliated with the AFL-CIO, which grants all of the performance unions their charters.], and I don’t think [a merger] is anywhere near what has happened. We signed a letter of understanding–holding hands, shall we say–stating that [AGMA and AFM] will work together for the benefit of members in the industry. I don’t think we can go as far as to say that we are in the merger process–that’s not where it is now. Obviously there is strong desire to see the
performing arts unions become one. I personally feel that to work in the industry and be required to join five or six different unions is a problem for members, and for that reason mergers are on everyone’s mind. But it’s very complicated to make it work. So no–the AFM and AGMA are not merging at this point. We are in a mode of cooperation.
Theodore Bikel, president of the Four A’s, stated that one of his main goals was to see the performing arts unions merge as one. He’s working very hard to do it.
CS : : Singers have asked us for information about an AGMA fee minimum for specific roles–is there such a thing?
TJ : : It varies tremendously. At the Met [the minimum] will be higher than at a regional company. We are in the process of negotiating contracts which set minimums, and we’re trying to make those close to what the artists are getting individually–for example: $20 per hour for every hour of rehearsal, plus a per diem of $80 per day, makes a much larger fee. On the surface that looks low–I think it’s low, too, and we’re working to raise it. On one of the “cheat sheets” we have, a leading role pays a minimum of $2,550, and understudies, a $600 minimum–that’s where we’d like to see things go.
CS : : Is there anything AGMA can do when singers have trouble with their managers? Should singers always seek out AGMA-signatory management?
TJ : : It would be better if an artist works with an AGMA manager–that sets out all the facts and the amount of withholding, and gives artists a way out. When artists have trouble with their managers, it’s almost like a divorce–complex and difficult. Many managers feel the same way–“If we can’t work well together, then let’s not do it.” [That is a] good position, however, since the business aspect is also there–there is an investment involved.
CS : : Do you have a list of AGMA-signatory managers that singers can check before signing a contract?
TJ : : The AGMA manager list is currently being updated, and we’re also planning to have open discussions with managers, to address issues. AGMA was created in part for problems with artist management; that was very important to the beginnings of the union. We’d like to become more heavily involved with managers.
CS : : What about AGMA today and tomorrow? There are a lot of changes in the air–can you talk about them?
TJ : : We are in a period of transition. AGMA has become a much more hands-on operation with its members–there is more emphasis on AGMA representatives and officers, including Linda Mays. We’re looking at a new AGMA, opening up membership to respond, to bring forth what they would like to see this union become. A union is defined as “members.”
The AGMA board of governors is very open to information. We have reps all over, and it’s important that the union membership lets their desires be known. I think singers are more active now, and it’s vital to have membership input–they should discuss things with their elected governors.
AGMA is able to stand up and be the bad guys–we’re here for that. Let us know which waves need to be made! Frequently, members call and say, “Look, I would appreciate it if you don’t bring my name into it–now here’s my problem.” If there is a problem with working conditions, or with media or intellectual rights, we can fight that without bringing names in, but we need to know about the problems and to handle them.
CS : : What are the unions’ accomplishments?
TJ : : First, the union has been setting standards for the industry since 1936–hours and working conditions. Second, the union is there when needed. Over the last several years we’ve collected half a million dollars for artists. Third, anonymity remains. [The union is] there to play the heavy when you are in trouble, have a problem, and you don’t want to be the one kicking and screaming.
