IATSE-2nd2018_web

1953, would be very influential throughout North America.
Similar festivals sprang up in such places as Ashland, Oregon;
San Diego, California; and Stratford, Connecticut.
At that time, there was a reversal of the long-established
tradition of shows opening on Broadway and then being taken on
the road. For example, Lorelei, starring Carol Channing opened
in Oklahoma City and travelled for almost a year before it went
to New York. Thus, work for Alliance members was increasingly
decentralized.
There is one stunning example of the combination of two
IATSE crafts emerging during this period: the videotaping of
the Mary Martin hit, Peter Pan, for television (telecast on NBC
in 1955, 1956, and 1960). This show posed enormous challenges
for IA stagehands, who often held Mary Martin’s very life in
their hands as she soared above, across and beyond the stage in
her flying harness. Although the show had a relatively brief run
on Broadway, the sale of the production to television meant it
was a moneymaker after all.
THE SIXTIES: DISORDERS, DISASTERS
AND DECAY ON THE THEATER SCENE
The riots, drugs and economic turmoil that characterized
our society in the mid- and late 1960s was reflected in the theater.
Ticket prices soared along with inflation. Unemployment
followed, and the middle class, which had for so long set the
tone for what was presented on stage, stopped attending. It
was inevitable that jobs would be lost. Producers cut costs
everywhere, not just in labor but in production values as well.
Sets were no longer lavish and extravagant. Instead, scenery,
sets, and wardrobes became sparse and meager.
The situation was not helped by the fact that new talent, as
soon as it succeeded on Broadway, would depart for the movies
and television, where they could make much more money.
Moreover, money that would have been used to mount major
Broadway shows was now being diverted to the music industry
and rock concerts.
The sound designer took on greater importance. Local
922 President and Business Agent Abe Jacobs noted that the
sound designer is the “fourth member of the production and
design team of a theatrical production.” Along with the scenery,
costumes and lighting, sound is now recognized as a major
element of the overall quality of all productions that are done
today.
Some of the late 1960s productions proved to be highly
successful on the road, such as You’re A Good Man, Charlie
Brown, and Do Your Own Thing. These shows played in
legitimate theaters all across the country, setting box office
records and providing much employment for IATSE members.
The touring companies not only provided work for road
workers, they also were a source of work for in-house crews in
the cities they visited.
But the Great White Way seemed unable to snap out of its
lethargy. The last half of the decade produced some successes
that are overshadowed by the lack of competition and innovation
during this period.
However, IATSE stagehands, wardrobe personnel working
in tailor shops, wig and hair stylists, make-up technicians,
and box office employees were still able to find steady, longterm
work in such venues as the Metropolitan Opera House at
Lincoln Center.
This work would serve the IA well as Broadway struggled to
climb out of its slump.
THE STAGE IN CANADA
Alliance members in Canada faced many of the struggles
their American counterparts endured during this era. In
1962, for example, Toronto had only two live theaters. But
government funding spearheaded a revival, enabling the city
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