Fantasies

From recent Blue Man Group Toronto print ads

Realities

Compensation

“We have always offered salaries that typically exceed union norms, as well as competitive benefits.”*

Not in Toronto. Although Blue Man Group refuses to document its salary and benefits claim, a top technician on the Toronto production recently quit because of broken pay promises and “abusive” treatment. His pay records show Blue Man’s hourly wage and benefits package was at least 35% lower than under the local union (IATSE 58) norm. FULL STORY

Respect for Ontario labour law

“Some of these individuals [hired for the Toronto production] are members of unions, and some are not. We respect their decisions either way.”

Blue Man Group adamantly opposes union representation of their employees. Being a member of a union is meaningless if your employer does not recognize the union’s right to represent you.

Recognition of Toronto’s theatrical associations and unions

“Our goal has been to establish an amicable relationship with the unions…10 meetings or conversations have occurred between our respective representatives.”

“We are not now and have never been signatories to a collective agreement with any union.”

Blue Man co-owner Matt Goldman. FULL STORY

All except one “conversation” has been with Blue Man Group’s Toronto lawyer. The exception: a brief meeting with Blue Man owners held, at their insistence, in a New York coffee shop.

Blue Man Group has recently threatened legal action against the Coalition partners and has applied for an injunction to prevent a public event sponsored by the associations and unions it claims to respect. The Toronto police had already given a permit for the Yonge Street event opposed by Blue Man.

Respect for employees

“We have continually valued and supported our artists, crew, management and staff.”

“[It was] an abusive, stressful, stifling work environment.”

Former Blue Man sound technician Mark Finkelstein FULL STORY

“We’re so different”

“We are a unique organization; our employees are collaborative contributors to our various artistic endeavours…there are no other business models that support the kind of creative company that we have developed.”

In Earth to Blue Man, NOW Magazine’s Kevin Temple writes: “Despite their huge success, the trio still talk as though Blue Man were an artist-run collective that happens to be fabulously profitable and unusually endowed with business savvy… But you know you're not in bohemia any more when Clear Channel Entertainment (subsidiary of the American radio giant that banned the Dixie Chicks) comes in as a silent partner.” FULL STORY

Public support

“…we have been enthusiastically welcomed by the people of Toronto and Canada who are excited about a new show and new opportunities within their community.”

The Blue Man ticket boycott is endorsed by organizations representing 1.5 million Canadians, including the Canadian Conference of the Arts, which represents both performers and producers. According to Toronto Star Theatre Critic Richard Ouzounian, the show’s advance ticket sales of $650,000 “raises doubts by comparison [to comparable Toronto shows] as to how much interest there currently is in the local run of the Blue Man Group. FULL STORY

Respect for Toronto’s cultural community

“Blue Man Group chose to develop work in Toronto because of its historically sophisticated and intelligent theatrical audience, and we look forward to becoming active contributors to this vibrant cultural scene.”

 
Globe and Mail Cultural reporter Kate Taylor says that Blue Man would be “freeloading off that history” if it refuses to work with “the associations and unions that have built Toronto’s commercial theatre.” FULL STORY

“If this thing closes [because we won’t work with the associations and unions in Toronto] that’s fine with us.”

Blue Man co-owner Chris Wink, National Post, June 8

Aren’t we just so wonderful!

Throughout its ad, Blue Man Group uses words like respect¸ collaborative, equal opportunity, professional, embraced and amicable to characterize their business and culture. 

What Blue Man Group is attempting to do in Toronto is the very opposite of these qualities. Decades of cooperation between Toronto’s theatrical producers and its professional representative organizations have shaped our city’s well-earned reputation as one of the world’s great theatrical centres.

As David Mirvish said of bringing the world premiere of The Lord of the Rings to Toronto:

"Strong support has also come from the theatre community in Toronto. Canadian Actors' Equity Association, the Toronto Musicians' Association and the International Alliance of Theatrical Stage Employees Locals 58 and 822 have given special consideration because of the size, scope and length of the production. The flexibility shown by these associations has made it possible for the creative team to realize their vision without compromise."  

Blue Man Group does not understand our theatrical community and does not respect its traditions.

Our way or the highway

From National Post, June 8, 2005:

“If this thing closes [because we lose money as a result of the boycott] that’s fine with us.”

Blue Man co-owner Chris Wink

It doesn’t have to be this way. Cooperation is the better way to go. Given the opportunity, Toronto’s professional theatrical organizations will do their part to make the Blue Man production a long-term success and a valued part of our artistic community.