Singers who weren’t around before the entertainment unions were formed more than 70 years ago, may have a hard time understanding how “ART” fits in with the stereotypical image of a muscle-bound, blue-collar Teamsters member. It may be hard for them to even comprehend how conditions were for singers, or for anyone, before unions existed.
The infamous Manhattan Triangle Shirtwaist Factory fire is an extreme example of just how unsafe work conditions used to be. Factory doors were locked to keep workers from sneaking out, and this prevented them from escaping when a deadly fire broke out in 1911. One hundred and eighty-six workers died.
While disasters of this magnitude have not happened in the arts, operetta and film soprano Kitty Carlisle Hart gives a glimpse into how tough work conditions were before entertainment unions: “Before the Guild, I remember working 36 hours straight through the night. Nobody could say anything and nobody did–we worked as long as the studio wanted us to work. We were all in it together, like people stuck in a lifeboat.”
Classical singers weren’t much different. Here are some of the conditions they faced before the union:
• Singers might not get paid fees or expenses.
• Fees were often paid directly to the managers and singers might or might not see their money.
• Neither principals nor choristers received compensation for rehearsals.
• Rehearsal time could be unlimited or even worse for a performer’s reputation, inadequate.
• No limit was observed on how many performances an artist had to do each week.
• No restrictions were made on when and how frequently an artist would have to travel.
• Only a meager per diem was allowed for tours.
• No provisions were made for medical insurance, sick leave or pensions.
• Some performers had to supply their own costumes, wigs and makeup.
• Working conditions were often unsafe.
