February 18, 2009 News+Opinion » Features

Orchestra board, musicians differ on cuts 

Hunting for Harmony

by Greg Hambrick
Orchestra Musicians are having to worry about money as well as their craft
  • Courtesy of the Charleston Symphony Orchestra
  • Orchestra Musicians are having to worry about money as well as their craft

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If the struggling budget of the Charleston Symphony Orchestra were a half-empty glass, the musicians would say the glass has room for more and the board of the directors would say the glass is simply too big.

The Orchestra is expected to run out of money sometime in March, likely necessitating pay cuts through the rest of the season. In the meantime, the board and musicians will have to make tough decisions about next season. Board leadership says cuts will have to come from the core group of 46 players. But those musicians say the organization can do more — more shows, more special events, more fund-raising, more promotions — without having to lose one instrument.

The difference at this point is a projected $500,000 hole in the orchestra's $2.9 million budget. To cover that spread, the board is weighing several scenarios to get the total budget to a more manageable figure, says chairman Ted Legacy.

"The community has consistently supported the orchestra at around $2.4 million," he says. "Never at $2.9 million."

The board has already made cuts on discretionary spending and cut guest artists and freelancers, while musicians have put off replacements for two vacancies and held a benefit last November that raised $13,000. But Legacy says the most direct way to find the rest of the $500,000 is by reducing the orchestra's numbers. Different projections used by the board and musicians in talks include reducing the core to 35, 28, or 16 players.

"It's a question of how conservative the board feels like it must be," Legacy says.

The Band with a Plan

Orchestra members say the board hasn't capitalized on the one thing they have in large supply: talented musicians with time to kill.

In their current five-year contract (with another three years to go), musicians are paid a salary based on the maximum amount they can be expected to work. Right now, the orchestra is using the players at about half of what they could be, says Tim O'Malley, a cello player and local union representative. The musicians argue that more shows, either through a larger orchestral season or in private contracted gigs, would help increase revenue and eliminate the urge to purge.

"We've been looking at the large fish," O'Malley says. "You can get just as full on a bunch of small fish."

Private shows account for about 29 percent of the budget, but O'Malley says that opportunities have been missed that would grow that pot of money. There is also the potential to build a larger following through these events by exposing newcomers to the genre, he says.

There may be opportunities for additional private performances, but Legacy says they're not enough to make up the spread. And he says the board is doubtful that adding performances to the season's calendar will provide much of any revenue at all.

"It's not clear that we'd get any more people to come to performances," he says. "We'd just spread them out."

Musicians say the board hasn't been creative enough in finding opportunities like the private events, or special fund-raising programs.

"We see this as an opportunity to look at some of these things," says Debra Sherrill, a horn player.

They also say that promotions for the events haven't been extensive enough and point to a recent family-oriented production that was sparsely attended.

"I counted about five people I didn't recognize," says O'Malley.

But, the musicians stress that they still have faith in the board and staff to make management decisions. Sherrill says the staff has missed programing and promotional opportunities, but the needed changes can be made with the proper guidance.

"We're grateful to the board," she says. "We just differ greatly on what the solution is. Cutting is not fixing the problem. If you cut, the quality is going to go down."

Outside Perspective

The musicians are on the right path by keeping initial talks civil, says national arts consultant Drew McManus, a musician, former administrator, and author of the daily orchestra industry blog Adaptistration.

"They're doing what's reasonable," he says. "You don't go to war and shout insults as your opening salvo."

That said, all bets are off if the decision is made to cut staff.

"Those will eventually turn into fighting words," he says. And, while it takes years to build the camaraderie and support system in a powerhouse orchestra, "It only takes a few months to destroy all of that."

What Charleston would do well to avoid, according to McManus, is a repeat of the acrimony seen in places like Columbus, Ohio.

The Columbus symphony was facing its own budget crisis last summer, with the board prepared to cut musicians, who balked at the suggestion. The board suspended operations on June 1, and all parties were then brought to the negotiating table. By September a new contract was ratified that preserved the number of players, but cut salaries by more than 25 percent. The charred earth that was left eventually led to the exit of the music director in November and the executive director last week.

The situation in Charleston will likely lead to cuts in salaries rather than in staff, McManus says. With Charleston as a feeder for smaller orchestra programs in the state, cutting performers would change the classical landscape in the Lowcountry.

"This is the main performing arts group for the region," McManus says. If players end up losing the regular paycheck in Charleston, they may leave the area entirely. "There's only so much part-time work."

And then there's the price for freelancers, something that orchestras typically bemoan as too costly. It's usually a primary reason for expanding the ranks of the core musicians in the first place.

"That's pretty much where Charleston is right now," McManus says. By cutting positions, "they're just going to find themselves in the same position."

The orchestra should look at every option, McManus says, including making sure all board members have done their part in fund-raising, that opportunities like bridge loans to get through the tough times have been exhausted, and that the musicians feel like they have an advocate within the administration.

Both the musicians and Legacy recognize the orchestra as a community asset. While Legacy knows it's his responsibility to get the orchestra in fiscal order, the players look forward to the day when they can worry a little less about the bottom line.

"We want to focus on what we do," O'Malley says. "Hopefully we can get back to playing. That's our passion."

Comments (13) RSS

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I'm a new resident to Charleston and I find it shocking that this orchestra may be closing its doors. I have worked for orchestras some of which were great and they bit the dust for financial reasons. It takes money, good musical programming, sponsorships, grants, and constant partnershipping with organizations to succeed and union orchestras (which Charleston isn't I don't believe) are even more demanding and expensive to run. Keeping an orchestra afloat during difficult economic times is a challenge but well worth the challenge. I know many artists would come here to work with the orchestra for less money if they knew that there were opportunities. Unique orchestral programs, and bringing in great artists who will work for reduced fees in order to fulfill an artistic dream or work experience may be attracted to the orchestra if the orchestra was so inclined to explore developing new works and workshop opportunities. Plus, there are opportunities that could be developed with the local theater and dance companies. For example, Footlight Players is doing the "Sound of Music" next season. Is it impossible to imagine players from the orchestra and the local ballet company partnering with actors and crew to present a revival or asking emerging and established composers to come to Charleston to partner with the orchestra on a series of new operas and musical theater pieces? Let's face it - it's not just orchestras that are in trouble, it's many cultural organizations. So why don't we look at ways of combining forces and developing projects that are innovative and daring not only from a music perspective, but a business one as well? Don't be defeated by the obvious, look at this as an opportunity to create and switch the paradigm. These are hard times and it calls for creative thinking which may include an orchestra that may be different in its structure, configuration, etc.

Best of luck Musicians. Without your playing a light will surely go out. Please don't let that happen.

Posted by Florida on March 21, 2009 at 4:24 PM | Report this comment

Amen, sista. What are they thinking?!?! I feel sorry for the musicians!

Posted by fluper on March 2, 2009 at 11:28 AM | Report this comment

I appreciate your apology and accept it. I do believe if Beyonce we in the same position she would do what she needs to do to make ends meet. I think any of us would. I have been told by several musicians that they could make more money playing weddings (due to how small their salaries are) if they did not have to turn many down due to Symphony gigs. What I was saying was that if the Symphony did collapse there would be other sources for musicians to work.

The symphony is continuing to make mistakes. If you read in the paper yesterday you will see they are beginning to cancel concerts. Now I thought ticket sales were a source of income. So I would think having concerts is better then not having concerts. I think this organization is doomed if this is how the management thinks & operates.

Posted by harborgrl on March 2, 2009 at 11:18 AM | Report this comment

You certainly don't deserve to be called stupid, and for that I apologize. I just want you to know that arts are more than a bottom line, and musicians work very hard to make so little money. When you call thier struggle to stay afloat 'BS' it strikes a nerve. And when you suggest a professional musician make his or her living by playing weddings, you must know that it is an incredible insult. (Imagine Beyonce's response if you asked her to do the same.) Anyhow, 'stupid is what stupid does', and no matter how upsetting and seemingly anti-arts your initial comments are, I should not have been so harsh. Maybe I'll see you at the next CSO concert...drinks on me.

Posted by fluper on February 27, 2009 at 6:36 PM | Report this comment

“Momma always said life was like a box of chocolate.” Geeee. He he.
Seriously though. I think it is very interesting that you would call a complete stranger stupid when you have no information about that person. Seems like a bully on the playground to me.

I have been a volunteer for the Symphony for 18 years and an individual donor for the past 6. I choose not to support them this year because they have proved time and time again they cannot manage my donation properly. (The constant we are not going to make it another month has gotten old. You can only cry wolf so many times.) The majority of my financial contributions do go to arts organizations. I have worked with over 50 non-profit organizations of all types. The best-run non-profits I have seen (in my opinion) are those that run like a business. Those that understand supply and demand and generate support for their organizations through these models. Just because Charleston has a great symphony does not mean the community is obligated to support it. If what they are doing now is not working then they need to change. If they are not willing to change then they need to stop crying and plug up their noses because they are going down with the ship.

I think the idea the musicians have is great. They are thinking outside the box. This could generate even more support in different areas and from new people they might not have gotten before. But if the management is against this or any “out side of the box” thinking then they can’t succeed. And if this is the case then I don’t want to read any more articles about them screaming it is not fair. Open up the paper each day and see places going out of business. Turn on the TV, same thing. Right now this is a fact of life for everyone (arts groups, burger joints, bars, antique dealers, ice cream parlors, airlines, etc.). And those that can put their big girl pants on and adjust will be far better then they ever were when this finally ends.

As for me, I think the arts are extremely important to a community. I wrote a paper many years ago about the effects of classical music on the brain. It is amazing how much higher IQs are for people who listen to even 10 minutes of classical music a day. Today we live in a new time where just because it is good doesn’t mean we are obligated to make it survive. We each need to find out what our community wants (demand) and give it to them (supply). My advice: think outside the box and listen to your musicians and provide a season that people want to be a part of and can get excited about.

Posted by harborgrl on February 27, 2009 at 2:16 PM | Report this comment

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