(Above, from left: Brian Schatz, Josh Ganci, Andrew Warren and Pete Averso)

Union victories deserve to be celebrated, and I am thrilled to announce that musicians who work for the Argyle Theatre have won a first-time union contract, achieving a wage increase of 17 percent, job security, pension contributions, a prohibition on virtual orchestra technology — and more. This is a significant milestone for Local 802’s organizing efforts on Long Island and I want to share with you the full story of how we brought this contract over the finish line.

Some members may not know that in addition to Broadway and Off Broadway, Local 802 has several collective bargaining agreements with regional theatres on Long Island. For instance, we have covered the Gateway Playhouse in Bellport as well as the John W. Engeman Theatre in Northport for several years. Performance demands in these theatres are at the highest level. Playing in these regional theatres requires coverage of multiple parts and multiple doubles, which makes the job a taxing one for even the most accomplished musicians. Before these theatres entered into agreements with Local 802, musicians lacked job security as well as standardized wages, benefits and working conditions. The agreements now supply economic and workplace protections that are not enjoyed at other regional theatres. The union protections we achieved include codified wage rates and premiums, pension contributions and job security.

Many of the musicians who perform in these Long Island theatres also perform under other Local 802 union agreements, so they understand the benefits that working under a union agreement offers. For this reason, when the Argyle Theatre opened in Babylon in 2014, Local 802 musicians sought a collective bargaining agreement there as well.

The Argyle (formerly known as the Babylon Theatre) has 1,500 seats and a rich history that dates back to 1921. Prior to its reopening as a performance venue, it had served as a local cinema. The father-son duo of Dr. Mark Perlman and Dylan Perlman purchased the theatre with the intention of bringing back live productions to Babylon. And they succeeded, thanks to world class performers and musicians engaged there. In fact, the venue’s website proudly states that “Broadway Comes to Babylon.” Shows this season include Broadway standards like “Jersey Boys,” “Fiddler on the Roof” and “The Music Man.”

Nonetheless, despite the theatre’s lofty goals, achieving a union agreement was elusive to Local 802. Bargaining was subject to fits and starts, and progress coming to an agreement was nominal. It became evident to us that in order to achieve an agreement, we would have to resume negotiations from square one with an entirely new set of bargaining proposals and objectives. Resetting negotiations was relatively easy to do since the Argyle did not refute that Local 802 represented a majority of the musicians employed there. What was difficult was finding points of leverage to compel the theatre to move off its position that the musicians were satisfied with their terms of employment and that they would continue to perform there under their status quo terms of employment. That was not a message that Local 802 could convey without musicians’ involvement.

With the assistance of Local 802 Principal Business Rep Peter Voccola late last year, four Local 802 musicians (Brian Schatz, Pete Averso, Josh Ganci and Andrew Warren) joined the bargaining team. As soon as these musicians joined us at the bargaining table, the whole tenor of the negotiations shifted dramatically. The union bargaining team made it crystal clear that they would not work for the current wage rate, which had remained unchanged for many years. That message finally registered with management.

After much back and forth, musicians were able to achieve a 17 percent increase in their wages. They also won pension contributions for the first time, and “just cause” job protection after their 10th performance. Additionally, musicians negotiated the same 50 percent subbing out policy that is enjoyed by Broadway musicians. Musicians also won a right of first refusal provision if the production is mounted in another theatre, plus payment of wages on a W-2 basis. The contract also contains a prohibition on virtual orchestras, which means that the employer can’t replace live musicians with tech. There is also an anti-discrimination clause, a significant win in these turbulent times.

The Argyle’s General Manager Dan Ostrander signed off on Feb. 12, 2025. Six days later, the agreement was approved for ratification by the Local 802 Executive Board. Finally, after five years of organizing and negotiating, musicians won their first contract.

The musicians who achieved this historic agreement with Argyle Theatre told Allegro in a joint statement that they are “proud to have negotiated the theatre’s first 802 contract. We have been working alongside our 802 representatives to secure a fair and equitable agreement and are very happy to see it come to fruition. It’s an important step towards unifying the top musicians on Long Island and we look forward to continuing to attract top talent at the Argyle Theatre.”

Finally, Local 802 would like to extend its thanks to Dylan Perlman and Dan Ostrander, who helped us achieve an agreement that both labor and management can be proud of. We look forward to the many years of successful theatrical productions.

If you’re playing a nonunion gig in Long Island (or anywhere in the NYC area) that isn’t paying the wages and benefits you deserve, make a confidential call to Local 802. We have a great track record in helping musicians win union contracts! Start at www.local802afm.org/hotline.

Also, see my A.I. legal update elsewhere in this issue.