In last month’ s issue, we dealt with life as it was before any union protection was available for singers. The conditions that exist today – much improved, but still far from perfect – were also examined, and the flaws that were discovered lead inevitably to an understanding of what will be required for tomorrow’ s solutions.
THE WAY WE WANT TO BE
Singers were asked about what changes they would like to see. For a full text of all comments received, see the website at www.classicalsinger.com
Requests from choristers and soloists:
• Equal pay with instrumentalist union (AFM).
• More AGMA signatories, including church and event jobs, similar to AFM.
• A different structure so that decisions could be made at the local, not national, level, similar to AFM.
• Lower initiation cost for young singers.
• Easy access and help with health insurance information.
• Lower cost for health benefits.
• A staff more knowledgeable about benefits.
• High level auditions for members only.
Requests from Soloists:
• More regulation of singers from other countries taking jobs by undercutting regular fees.
• More regulation of apprentices taking mainstage roles, which used to go to higher paid comprimari.
• Easy access to minimum fees for each role (other entertainment unions have fee and signatories’ info on public websites).
• Set fee scales for oratorio, church, weddings and other events.
• Same instant access to AGMA help as the choristers have.
• Communication about where dues are being used specifically to help them.
• Communication with soloists who can’t get to meetings.
• Notification of current status of signatories with AGMA.
• Easy access to each written agreement with each company.
• Written policies, current bylaws.
• A written code of conduct.
• Help with staff problems, unanswered phone calls, accounting procedures.
• An end to AGMA’s implications that soloists must attend meetings and volunteer their time in order to have the right to insist on change.
• Easy access and help with withholding and dues.
• Union reps to come in from outside each production, rather than being appointed from inside and hurting the solo rep’s career.
• More balanced focus on needs of soloists and chorus.
• Lower fees for younger or community-based singers.
• More protection for singers in apprentice programs.
• Ability to shift back and forth between union and non-union work.Some would prefer AGMA to unite with EQUITY or AFM. Others asked to get rid of unions altogether, believing unions are only effective for choristers.
Requests from Choristers:
• Reps voted in for effectiveness, not popularity, One chorister believes reps are “bought off” by being given better roles by management.
• Help with making it a rule that singers working for the smaller companies can be released on Wednesday night or Sunday morning, so choristers can hold church jobs to supplement income.
An additional fact became clear by reading soloists’ responses: There is a lot of confusion about the rules, regulations, responsibilities and benefits for soloists. The rules change from house to house and copies of the rules are not easily available. The contrast between responses from choristers and soloists points up the obvious fact that it is much easier for AGMA to communicate with chorus members than with soloists. This is backed up by a conversation a CS staff member had with a group of choristers at New York City Opera last year. They seemed to speak almost with one voice and knew their rights implicitly.
It appears AGMA may also be losing potential memberships of thousands of prospective and new members due to lack of communication. A few singers wrote that they didn’t even know the name of the union or anything about joining until they got an initiation bill for $500. One soloist wrote to try to find out what she was “buying” and was never answered. This treatment sets the stage for a poor relationship.
HOW DO WE GET THERE?
Since the union is working effectively for some AGMA choristers, even speaking about changes is likely to be perceived as threatening. Some responses from choristers indignant even at the existence of the CS poll confirm this. But as one AGMA board member said, “Bringing about change has always been the problem. The soloists who really know the business are too busy to attend meetings, so the union is being run by singers who are often not working and sometimes bitter. Decisions are being made by the wrong people. But how do you get working soloists to meetings?”
In order for the union to become what soloists want, they must come together somehow. Choristers, dancers and touring groups may already be a “group,” but the major complaints are coming from soloists who are not able to come together on a daily or even yearly basis. “There is no point in having a union because soloists won’ t stick together when there is a problem. I was singing at [opera company] where all the singers were sick from fumes and could barely sing. I brought it up to management–but not one of the singers would back me up! Not only was nothing done, I was ridiculed throughout the rest of rehearsals by management. How can a union work if singers don’ t present a united front?”
The other entertainment unions, however, are making it work with solo performers and reaping benefits–despite the tendency of people to “save their own skins.” If soloists want to reap the benefits of union membership, perhaps they should look to these unions as a model.
CONCLUSION
Several indicators point to the fact that changes are needed:
• The low number of members and signatories
• The lack of Rule One enforcement
• Dissatisfaction on the part of some members including those interested in pulling away or dissolving the union
• Tension within the union between choristers and soloists.
• Lack of awareness on the part of both singers and the public of the good AGMA is doing because it appears that AGMA is not using the press or member communications effectively.
In this article, CS has examined what some singers are asking from their unions. We think it is clear from singer responses and from general union research that singers are asking for exactly the benefits that unions provide! Whether they know it or not, they need a strong union. Perhaps the next step would be for AGMA to use the free tools available to them through the press and other communication methods to build their image with the public, with companies, with current and former members and with singers coming up through the ranks. If AGMA would let singers know what is being done in their behalf , it might do wonders to build the strong union singers need.
