Has Central City Opera Lost The Plot?
(Santa Fe, NM) - Something’s apparently rotten in the state of Colorado.
We first heard about Central City Opera’s entanglement with AGMA (American Guild of Musical Artists) via the latter’s 15DEC statement on Instagram, which was shared and commented upon by a few individuals across the opera spectrum.
THE JIST: Per Eden Lane’s Colorado Public Radio story: “Founded in 1932, Central City Opera is one of the oldest opera companies in the United States. Now the company is in a bitter dispute with the labor union representing its performers, The American Guild of Musical Artists, which was founded in 1936. That long relationship is being put to the test with accusations that include charges of withheld artist payments, refusals to bargain in good faith, body shaming, sexual harassment, and other threats. Both entities have filed charges with the National Labor Relations Board.”
Lane’s piece goes on to explain how CCO asserts that their AGMA agreement only covers performances within its proper theater and nowhere else: “Heather Miller, co-chair of the board of directors for the Opera, said the current agreement is limited to performances on the main stage at the Central City Opera House. ‘I think an important piece of this story that is being lost, or glossed over, [is that] it currently covers all artists and production, people who are members of AGMA when they are on the Central City Opera stage.’”
Sam Wheeler, AGMA’s National Executive Director, countered: “‘Over the course of the summer, we believe that there were several documented violations of our collective bargaining agreement that resulted in a little more than $12,000 that hasn't been paid to a group of our artists — mostly apprentice artists who were early career solo singers.’ Wheeler said the Central City Opera's assertion that AGMA and the performers’ agreement with the Opera doesn’t cover this work is without merit and that their collective bargaining agreement is clear. ‘We cover all artists employed under our covered … categories employed by Central City Opera,’ Wheeler said.”
Going deeper on alleged “body shaming, sexual harassment and other threats,” a recent public Instagram post from an identified source suggests that these and other, less-than-best practices are the responsibility of new President and Executive Director Pamela A. Pantos, who arrived in February 2022. Under Pantos, apparently ten (10) full time staff members have since left the company; alleged “instances of sexual harassment, public body shaming in master classes, as well as illegal threats of retaliation for AGMA delegates participating in union activities” are also mentioned, in addition to apparently lax COVID safety policies during the Summer 2022 season, which allegedly led to 40 infections in one week, shutting down the company’s Die Fledermaus production, with Pantos apparently reneging on “legal compenstation” for apprentice artists.
Our opinion is this: when apprentice program companies appear to mistreat young and less experienced artists - who often don’t have management - they do the industry a disservice. Top-down disrespect is established, which could easily taint, diminish or ruin the next generation’s careers. These companies have a corporate responsibility to train their apprentices to the highest degree of their professional ability, modeling the highest professional standards for said apprentices.
For instance, why would any company admit, as CCO Board Co-Chair Heather Miller did, that CCO only pays its apprentice artists when and where it is required to do so, which CCO interprets as onstage at their theatre and nowhere else? Does this mean apprentices are expected to work for free outside the proper theatre? These made-up loopholes are embarrassing in the extreme. We’re also betting that Ms. Miller, a “Marketing Communication professional with more than 18 years’ experience in financial services, consumer products and non-profits” is infinitely more informed than she’s letting on.
A quick look at its upcoming 2023 Festival of three (3) operas demos a majority of manager-represented artists. This suggests negotiated contracts and fees for these artists. Unlike artists with managers, apprentices’ AGMA union protections function as their primary line of defense, their working with a net. However, just like principal artists, apprentice artists make CCO’s ROI (return on investment) a reality. As such, they should all be compensated for their time and artistry.
Based on CCO’s 2021 Annual Report, the company is only $4.4 million away from reaching its $20MM goal for its Voice Your Dreams Endowment Campaign. CCO also made a small $162K profit in 2021 - congrats on both. However, after reviewing both the online annual report and endowment campaign website, there appears to be robust foundation, corporate, private and organizational support everywhere. Case in point, “a generous family foundation” made a “lead gift with a matching grant of up to $10MM” for the endowment campaign. We wonder if this $upport system could’ve specifically benefitted apprentice singers so that $12K in disputed, unpaid apprentice fees wouldn’t seem like the ridiculous unforced error it is.
In a related development, three (3) 2023 Festival Season directors have reconsidered their work with the company “until the issues with AGMA are resolved,” choosing to “stand with…artistic colleagues.”
CCO’s 15DEC blanket statement is the equivalent of a meaningless PowerPoint slide. Per the CPR story, “both entities have filed charges with the National Labor Relations Board.” But will the Colorado Department of Labor and Employment eventually take interest in CCO’s employment practices? We’re hoping that stall tactics like a last minute, no-show at AGMA negotiations are in the past, and that CCO’s engagement with Starbucks’ union-busting firm Littler Mendelson had nothing to do with it.
Given CCO’s most recent annual report and the company’s clear financial support, it’s difficult to understand why $12K in unpaid apprentice fees remain disputed. Or that an apparent lapse of thought or planning for COVID-safety, with no established Human Resources department or irrefutable evidence of HR best practices, appear to be a part of CCO’s day-to-day operation. Of course, we hope we’re wrong, but no evidence to the contrary of the above is found in any current news reports, or via CCO’s publicly available website information.
RECOMMENDATIONS: Ms. Pantos and the full CCO board should reconsider their position with AGMA immediately. We suggest that Ms. Pantos and her board seek transparency, crisis communications expertise and high-level guidance to right their storied ship. Or, that the CCO board replace Ms. Pantos and seek interim leadership, expert guidance and increased humility to protect their still-important brand.