Life in the Pit

The main problem we faced for years at the National Ballet of Canada was recognition within the company among management, artistic staff and office staff. There was a lack of understanding for what we do and the orchestra just seemed to be a necessary overhead cost on the artistic fringe.

In 1996 our company had a cash-flow crisis caused mainly by changes in government (we still have significant funding for the arts from 3 levels of government in Canada – for the National Ballet c.25 percent). All departments had to trim 5 percent of their budgets immediately and in the orchestra that meant a job-sharing proposal from management. In essence, our core of 62 would be reduced to 55 with all of the losses in the strings. We were going into a negotiation and feared there would be further cuts. So we came up with our own proposal to donate 3 services that year and not fill two vacancies for one year. We maintained the numbers in the next agreement, though we didn’t get any raise for a couple of years, but management understood better that we were willing to make sacrifices to keep the product at the highest level. I know that that story pales in comparison with what’s happening in Atlanta and Milwaukee, and for them I can only wish for better management and board.

Our company uses taped music a few times per year but the orchestra is engaged for all performances even if for only one act of mixed programmes. When we proposed a clause for the ban of virtual orchestra machines in our last negotiations, management resisted because of the fear that we were trying to ban all recorded music. When we gave them language (based on Local 802’s language), they approved it with very little discussion and we now have a ‘no virtual orchestra’ clause that still allows the company to use taped segments as stated above. It depends on what kind of company your ballet company wants to be. That may sound a little harsh but choreographers and artistic directors want real music, and they have to be prepared to advocate at the board level.

If I had one very small wish for my colleagues it would be to appreciate that we’re serving up great music to a grateful audience and we should always acknowledge them for their recognition. OK, two wishes. That viola players wouldn’t swing their cases over their shoulders when they’re still in the pit. Clarinetists too.