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Post by nwtheatre on Dec 7, 2022 14:35:12 GMT
This sounds like shades of The Sopranos. Throw shade at unions, but strong theatrical unions in America are what ensured when Phantom came back last year, it was the same cast, orchestra, crew, etc, while in London the commercial producers were crying in their lockdown champagne about no government support after they sacked everyone in how many shows? And we all know what the "contractor" classification did to some of Britain's finest actors. I'm sure Anna Jane Casey never wants to see another Hermes package again as long as she lives. The West End should have such powerful unions. If the West End had union power like Broadway does, then there wouldn't be any tickets for less than £50 available as it wouldn't be able to work financially. Theatre is still a business at the end of the day and if the shows aren't making money then they won't exist and the main reason Broadway prices are so expensive is because of the Union regs.
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Post by sukhavati on Dec 14, 2022 9:20:03 GMT
Throw shade at unions, but strong theatrical unions in America are what ensured when Phantom came back last year, it was the same cast, orchestra, crew, etc, while in London the commercial producers were crying in their lockdown champagne about no government support after they sacked everyone in how many shows? And we all know what the "contractor" classification did to some of Britain's finest actors. I'm sure Anna Jane Casey never wants to see another Hermes package again as long as she lives. The West End should have such powerful unions. If the West End had union power like Broadway does, then there wouldn't be any tickets for less than £50 available as it wouldn't be able to work financially. Theatre is still a business at the end of the day and if the shows aren't making money then they won't exist and the main reason Broadway prices are so expensive is because of the Union regs. Quite frankly, when you have commercial producers like Disney, Mackintosh, and Lloyd-Webber that rake in millions, their crews and actors should have strong union protection. Experimental theatre, smaller houses, publicly funded wouldn't necessarily need the same type of protections to keep prices accessible, but those old warhorses of musicals that just go on and on have kept the producers fat and happy far longer than it took to reach the break even point.
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