Profile for thedrybandit

Islander, you're absolutely right. I know a lot of the crew there either directly or through industry friends, and the Met is absolutely one of the hardest places to work in the city. The changeovers are near-daily sometimes, the sets are incredibly old and have to be built very quickly, but they're also reinforced safely and repaired almost every time they're used, and it's all done in a fast paced, relatively dangerous environment. Not to mention the crew that make the most

unclevictor said: "You’re wrong. U 2 are beyond misinformed.

Can’t explain... stagehand code of honor.

To many eyes and ears."

Are you in this thread ****ting on Local One backing their members, while you talk **** about their members, and then also saying "stagehand code of honor?" That really doesn't compute.

Phantom4ever said: "The real question is what this means for New York. Has anybody seen a loadout at the Majestic? There is still more than enough time to do the same changes in New York even if Broadway really does reopen in June. I'm still hoping against hope that they somehow spare the Broadway production this horrible fate."

Broadway is still untouched since the shut-down. At the moment no loadout has taken place nor is there a planned one. Obviously that'

Robbie2 said: "a lot of industry people collecting unemployment but for how long? Are the benefits extended? How does it work? Not in the industry and thankfully working remotely until next year is the plan for our company in NYC."

Yes, benefits were extended early on during this, and assuming someone started collecting unemployment when Broadway shut down, they'd be covered through around April/May which unfortunately means that we won't be covered until Bro

June is correct for the moment. No source for that today.

Nothing yet. I've had a few interviews, but mostly they see that I've made my career in theater and don't want to hire me because they think I'll leave the minute theater is back.

Which isn't wrong, but still.

I've got some friends at LCT, I believe they moved up the B-Roll filming date because they knew a shutdown of some kind was coming. It was definitely filmed with at least a couple cameras, but certainly not for Netflix or anything like that.

JennH said: "W....T....F....It was already down from what I believe was normally 12 weeks, took it down to 11 due to pressure a couple years ago, and now they raise it when NO ONE IS WORKING??And it'swondered why Unions are leaving bad tastes in people's mouths...."

This isn't a union problem, this is an American healthcare system problem. I am union, although I'm not Equity, so I can't speak directly to what Equity is thinking right now, but most

Jordan Catalano said: "I also wonder if the sheer size of the casts plus the amount of people backstage PLUS the huge number of seats (and older patrons) factored into this decision and might not have the same impact on a normal broadway show or even new scaled down productions."

Considering that the Met has crew in the building almost 24/7 during their main season, I think that's a huge part of it. To handle their show turnover they've got a huge night crew

Princeton2 said: "wow, this thread is scary and adds fuel to the fire that the left is actually less tolerant than the right these days...There is so much hate in America now, from BOTH sides, and people are actively searching for reasons to fan the flames of that hate. No matter who wins in November I dont think that will change because neither side listens to the other and cant possibly consider anothers point of view."

Well considering one side's point of view

No, you can't do more than Tuesday nights until you have at least three Tonys.

Looks like Platt is officially announced.

JBroadway said: "Danny Burstein is eligible in the featured category. Leading actor will hopefully go to Isaac Powell, assuming the production is eligible. IMO, no one else in that category is deserving of a Tony, but I guess it'll have to go to Aaron Tveit."

Came here to say something similar. I almost don't want them to do the Tony Awards like this with such a short season, to avoid defaulting to Tveit. He was basically sleepwalking the night I saw MR, and

Fair enough, I always like seeing your name on something, and the tone just caught me off-guard coming from you. Cheers.

 

And I don't have much to add past what you said in your second paragraph, I'm in full agreement. Thanks for articulating that, hopefully someone involved with making these demands happens upon this and can add on to it, or have a discussion. Change is great, I just want to know that those who are publishing their demands understand what they'

Some skank who could never love the Phantom the way I do

AEA AGMA SM said: "I don't know if "too far behind" is accurate. I mean, how long did it take them to put Raul back into the scene to make "Wandering Child" a trio again on Broadway?"

I believe they added Raoul back in around the time Norm Lewis came in as the Phantom, so a really long time.

One Man, Two Guvnors brought up two audience members each show, though they didn't necessarily bring up the most famous person in the audience, just whoever looked interesting that was sitting in the right area.

James Corden - One Man Two Guvnors

Mark Rylance - Twelfth Night

Rick Holmes - Peter & The Starcatcher at New World Stages as Black Stache. Absolutely stole the show, pure brilliance. I also saw Borle, but he had nothing on what Holmes managed to do. Went back to see the closing performance just for him.

John Cameron Mitchell - Hedwig (Broadway, CRATE)