Stagehands strike steers clear of Strip shows

Broadway is almost crippled. The theater industry largely sacrificed this holiday weekend, one of its most lucrative, because of a stagehands strike, which at this writing had closed 27 shows at least through today.

Here, close to the West Coast, we hear more about the Writers Guild of America strike.

It’s a relief the Broadway strike seems so distant, because it involves the same parent union and show producers who do business here. But the issues, for the most part, are coasts apart.

Local 720 here is an autonomous member of the same International Alliance of Theatrical Stage Employees. Three Las Vegas musicals (“Mamma Mia!” “The Producers” and “Phantom — The Las Vegas Spectacular”) have contracts with the stagehands local. So far, the crew of “Monty Python’s Spamalot” has declined overtures to join.

The stagehands’ battles here are more about organizing. A contentious vote at The Orleans showroom added 16 new members to the local in June. And an aggressively contested vote to organize the Blue Man Group is awaiting a decision from the U.S. Court of Appeals.

Kevin McCollum, producer of the bygone “Avenue Q,” telegraphed the heart of the Broadway strike last year. New York stagehands haven’t caught up to the “modern-world day of how technology can help. You have a load-in where everybody has to come at the same time (and) physically and metaphorically start tripping over each other.

“I keep saying, ‘Let’s get smart folks.’ And Vegas is very smart about that.”

The reason why is fairly obvious. “The theaters are brand new,” says “Phantom” producer Scott Zeiger with a chuckle. “There aren’t the same sort of antiquated regulations on the books.” All show-related unions here have been “cooperative and understanding” of the Strip’s unique challenges.

New York stagehands are combating accusations of “featherbedding,” while complaints from local producers about foot-dragging or overstaffing are rare. The main grumblings I’ve heard concern two older properties: the Sahara and Riviera.

Jeff Colman, business representative for Local 720, also notes the Broadway stagehands have all their eggs in one basket. When Colman started working here in 1969, “about 95 percent of our income was derived directly from the showrooms.” Now, he says, 85 percent to 90 percent comes from trade shows and conventions.

Colman walks a delicate line, supporting his New York colleagues while being grateful for the relative calm here. “Producers and owners would like to expand on the negatives of a collective bargaining agreement,” he says. “But once it’s in place, it’s amazing how well we work together.”

Contact reporter Mike Weatherford at mweatherford@reviewjournal.com or (702) 383-0288.