Artists and Pasadena Playhouse--It’s Been a Successful Union

In the last few weeks, the Los Angeles Times has run articles regarding the unfortunate chain of events that Calendar writers have described as a “battle” between the Society of Stage Directors and Choreographers (SSDC) and the Pasadena Playhouse (“Morning Report: Picketing in the Rain,” Jan. 19; “Pasadena Playhouse, Directors Embark on a Collision Course,” Dec. 27).

Because of a contract dispute, the Playhouse has locked out members of SSDC, one of only two professional theatrical unions that have had a relationship with the Playhouse since the revitalization of its main stage activities in 1986. SSDC in turn is on strike against the Playhouse.

The issue basically is a simple one: Now that the Playhouse is presenting its plays in additional theaters, SSDC is asking for compensation for the continued use of stage direction and choreography wherever the show goes, which is customary. The Playhouse is creating a franchise on the work created by some very talented people.

The Playhouse, on the other hand, says the system “economically” doesn’t work now that it has expanded to satellite theaters in Poway and Santa Barbara.

Traditionally, whether the venue is the Mark Taper Forum or the Old Globe Theatre in San Diego or the latest Broadway hit playing at the Pantages or the Doolittle, if a show moves or its run is extended, the standard industry practice is that the artists responsible receive a royalty. This royalty is usually 2% of the weekly gross box - office revenue, in addition to ongoing pension and health care benefits.

In the big bucks movie business, 2% might sound wonderful, but the amount involved with weekly theatrical grosses can be minuscule.

The Playhouse is going against a policy and a contract that has been embraced by professional theaters across America. What’s next? If management figures it can save money by dropping SSDC, might it eventually consider getting rid of the only other union it now deals with, Actors Equity, and use lower-cost, non-professional actors?

In 1979, David Houk (president of Theatre Corp. of America and operator of the Pasadena Playhouse) and I came to Pasadena with a dream to restore the once renowned Playhouse to its former glory as a landmark facility and a leader in California’s theater community.

The goal was to make the Playhouse a home for America’s most exciting artistic talents and share the product of their collaboration with other theaters, both on the West Coast and across the United States.

In 1993, the Playhouse is physically one of the most beautiful theaters in California, both for audience and performer. The dream of a chain of theaters presenting Playhouse productions has been realized.

Yet now the Playhouse is turning its back on a key group that has made its success artistically possible. “Mail,” “Accomplice,” “Other People’s Money” and “Lend Me a Tenor,” artistically and financially among the most successful shows in recent Playhouse history, were all directed by SSDC members. In fact, 24 of the last 36 productions in Pasadena were mounted by SSDC members.

The Pasadena Playhouse, the state theater of California, owes its constituency and this state the best artistic work possible. If the current situation continues, this will not be possible.

The issue ought to be able to be resolved easily and quickly. The SSDC members who stood in the rain recently in an informational picket line in front of the Playhouse wore buttons with the key word: Negotiate. Add to that: Meet and communicate.

Let’s keep the Playhouse growing artistically and financially, and at the same time be fair to the artists who make this possible.