There is an oft expressed sentiment in Hawaii that the state is about 10 years behind the current trends. The Honolulu Symphony administration, however, seems to be right in step with the current approach symphony management nationwide takes while in negotiations with their musicians.
In an interview that aired last Friday on Hawaii Public Radio, Honolulu Symphony Executive Director Majken Mechling echos the usual arguments about musicians only working part time, being overpaid for their services and being obstructionist. My heart sunk when I heard this during my morning drive to work last Friday. These arguments sound so similar to those espoused by other symphony organizations across the nation, I wondered if Mechling, who was recently executive director at the local chapter American Diabetes Association, had researched those symphony negotiations in preparation for the symphony job. Intentional or just coincidence, I believe it was a mistake to follow this approach in terms of public and musicians relations.
The symphony administration has gone from the exemplar of civil relations with musicians I cited about a year and a half ago and Ron Spigelman praised about a year ago, to just like most every other symphony.
The Honolulu Symphony musicians’ pay was about 12 weeks behind by the time a large donation late last year caught them up. They had been continuing to play for about a year even though the gap in how far behind their pay was continually increased.
Last April I had observed that the moral victory the musicians achieved by their dedication to their organization in spite of not having been paid didn’t put food on their table or pay their mortgages. I will likewise acknowledge that dedication, commendable as it might be, doesn’t pay off the symphony’s debts today.
But I can’t imagine that the decision to donate $2.13 million to the symphony last September wasn’t in part influenced by the dogged loyalty the musicians showed to the organization. I am sure the musicians’ gesture impressed a number of people enough to make less publicly recognized donations.
Now about three months after the symphony filed for bankruptcy protection, to hear the musicians disparaged as if they hadn’t provided such a significant sign of their investment disturbs me. Frankly, even if they are being obstructionist, it is hard to blame them after enduring such a long period of uncertainty and making concessions only to have things fall apart on them anyway. Even if the musicians aren’t as cordial in private as they were before, where is the benefit in employing antagonistic language?
I certainly don’t condone any threats Mechling may have received from musicians or their supporters. But after a long period where the relations between the administration and the orchestra were at least publicly polite, there doesn’t seem to be anything to gain by being critical of the musicians. The organization still retains a halo of goodwill. What is the cost of being complimentary of the musicians or saying nothing? The situation may unavoidably end with the number of musicians being severely cut. It would be better that the narrative continually be that the orchestra has always valued its musicians, always honored their loyalty and is heartsick to have reduced their numbers. That would be the sort of thing that convinces donors the orchestra is still worth supporting, even in it’s diminishes capacity.
The thing I disliked the most was Mechling’s comparison of the dealings with the musicians union to that of the state and its union employees. I believe she was trying to tap into the popular sentiment expressed on online comment forums that was recently running against the state employees while they were making obligatory noises resisting pay cuts and furloughs. (Disclosure: I am represented by one of the union bargaining units which did settle and take pay cuts and furloughs.) I believe her attempts were misplaced and unnecessary. For one thing, the state employees would have been striking and making all sorts of noise if their pay was just a couple weeks in arrears. The musicians barely made the slightest critical statement publicly against the symphony. Even now Steven Dinion’s comments in the interview that they have been frustrated by the process and don’t understand the administration’s agenda are about the strongest public statements that have been made by the musicians on the situation.
I understand and empathize with the frustration Mechling may be feeling having taken the helm of an organization that seemed to have cause for hope only to have bankruptcy declared a short time later. The time she was provided to feel any sort of elation was quickly curtailed and now she is faced with overseeing the (hopefully) partial dismantling of a long storied institution. This includes being faced with making decisions about the futures of 80 some individuals. That can’t be easy. Artists, administrators and technicians grousing about each other in turn is a national past time in the performing arts. Limiting the timing and the forum in which these are done, however, is critical.
