Hubbub

[This is the third in a series of posts about my experience with the Federal Way Symphony. The previous post is: Federal Way Symphony Part 2: From Bad to Worse.]

Several weeks of turbulence preceded the first rehearsal of the Federal Way Symphony’s 2007-08 season. A number of musicians–including me–had declined to sign the Symphony’s contract but nonetheless had made clear their desire and intent to continue playing without a contract as they had been doing for the previous three years.

Rather than speak with musicians, orchestra management did what it had done in the past when musicians spoke up about working conditions: purge the “troublemakers.” Word circulated that area musicians were being contacted by FWS and asked to fill seats that we were already occupying. With the orchestra’s reputation for mistreating musicians widely known among area professionals, most of those contacted refused. The Seattle and Spokane Musicians Unions helped further by circulating an advisory.

As one of many musicians that had asked for a better contract, I had no reason to believe that I would be singled out or that my status in the orchestra had changed. Just three days before the Monday rehearsal, the personnel manager sent me an email addressed to “Federal Way Symphony Orchestra players,” which seemed to re-confirm my status. I spent the weekend believing that I had been engaged to play the following week and prepared my part by practicing from a personal copy of the music.

Monday evening I arrived at the rehearsal to find a clarinet player sitting in my seat. He told me he had been hired to play principal. I asked the personnel manager what my part assignment was for the week and after an evasive and coy answer he finally responded that I had no part assignment. The second oboist, also a long-time member of the orchestra found himself in the same situation.

Management seemed intent on humiliating us in front of our colleagues and thereby intimidating and discouraging others from seeking better working conditions and a contract that adheres to industry standards.

I decided not to leave without first telling the rest of the orchestra what had happened. The music director tried to prevent me from speaking but orchestra members shouted him down and from the podium I spent about two minutes explaining the situation. After finishing, the second oboist and I left, but we were not the only ones. Five other musicians (all wind players) walked off the stage in solidarity—including the musician who had been hired as my replacement! In the succeeding week, several more musicians joined us.

By appearing to pursue a strategy of intimidation, management lost control of the situation. My colleagues did not walk out because of a disagreement over recording rights, doubling fees, rehearsal length, or any of the other contract issues that were called out. They left due to management’s thoroughly unprofessional and unethical treatment of dedicated, long-time employees.

The Federal Way Symphony management and Board treat musicians as if they are replaceable commodities. While the Board raises money and provides logistical support, it acts as if the music director is all that is needed to create the artistic product. To be successful, an orchestra requires good musicians who play well together and are treated as an integral part of the organization. Until the Board understands this and acts accordingly, the Federal Way Symphony will struggle as an arts organization and consign itself to instability and uneven, mediocre performances.