Atlantic Theater Company And IATSE Reach Tentative, Potentially Historic Agreement Covering Production Workforce In Nonprofit Off Broadway Venue
Off Broadway's much-honored Atlantic Theater Company and the International Alliance of Theatrical Stage Employees have reached a tentative agreement that could see the Atlantic become the first-ever not-for-profit theater company producing solely Off Broadway shows to have such a union agreement.
The tentative agreement – pending approval via ratification by the workers – covers nearly 100 production workers employed by the company. If ratified, the agreement could end a strike that began in January after months of negotiations stalled. The Atlantic's crew voted nearly unanimously to unionize with IATSE in February 2024.
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In a joint statement, the Atlantic and IATSE said the proposed agreement includes 'significant compensation increases including comprehensive benefits that both parties believe reflect the essential contributions of the production crew to Atlantic Theater Company's success.'
Full details of the agreement will be made available to the workers and organization stakeholders in the coming days, according to the statement.
'Ultimately, after extensive discussions and dialogue, the Atlantic Theater Company is poised to become the first not-for-profit theater company producing solely Off Broadway in history to have a union agreement covering production classifications,' the statement said.
When the strike was called in January, the theater at first postponed and then canceled two shows that were already in previews: Eliya Smith's Grief Camp and Mona Pirnot's I'm Assuming You Know David Greenspan.
While today's announcement of a tentative agreement did not disclose the current or future standing of the two shows, a note on the theater company's website reads, 'We can't wait to see you back at the theater soon! We will share additional information including new performance dates and ticket on-sale information shortly.'
The Atlantic was founded in 1985 by David Mamet, William H. Macy and an ensemble of their acting students from New York University and has grown into an acclaimed Off Broadway company operating two theaters: the 199-seat Linda Gross Theater and the 99-seat Stage 2. As a producer of compelling new works, we are committed to championing the stories of new and established artists alike, amplifying the voices of emerging playwrights through our deeply collaborative programs and initiatives.
Among the many acclaimed productions that began life at the Atlantic are Spring Awakening, The Band's Visit, Kimberly Akimbo and such Martin McDonagh plays as Hangmen, The Cripple of Inishmaan, The Lieutenant of Inishmore and The Beauty Queen of Leenane.
The strike came at a pivotal time for the Off Broadway community, as nonprofit theaters, which traditionally have not been unionized, struggle with both the harsh economics of the post-Covid theater industry and many crew members' increasing desire for union representation.
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An ideal partnership In the years that it took to create 'F1,' Kosinski had 'earmarked big music moments' across the movie's narrative, explains Weaver, who oversaw and produced the project. His team at Atlantic Records took those notes and came up with ideas for songs, artists and writers, collaborating with soundtrack executive producers Kosinski and Bruckheimer. They enlisted Atlantic artists, like Ed Sheeran and Rosé, but also looked elsewhere. 'It's mostly, if not solely, about what the film needs,' Weaver says. 'It really kind of boils down to whose voice would sound best in these various moments. … Who can accomplish what Joe and Jerry needed from a storytelling perspective?' And what they needed were big bespoke songs to meet the film's intensity and match its inclusion of huge classic rock songs, like Queen's 'We Will Rock You.' All the songs featured on 'F1 The Album' are originals, which is why Tate McRae's 'Sports Car,' despite its fitting name, is not on it; instead, she offered 'Just Keep Watching.' Atlantic, usually Weaver, would play the label's song choices against filmed sequences in the editing room, Bruckheimer explains. 'So, if there's a race and we need to end it with a song he'll play, you know, maybe 10 songs against that sequence and it's the best song that wins. It's not usually the song that we think is going to be the biggest hit or features the biggest artists,' Bruckheimer says. 'It's the one that works for a particular sequence.' A global focus with a diversity of talent 'F1 is such a global sport. I wanted the soundtrack of the film to reflect that,' Kosinski says. That meant tapping artists 'from all over the world to give it a feel that the sport really has.' Ferrari driver Lewis Hamilton, who consulted on the project, made sure that need for global inclusivity was clear from the start, says Kosinski. 'Sometimes here in Hollywood we can get a little myopic in terms of our cultural focus,' he says. 'And this sport, it is inspiring to me to just see how eclectic it is.' He would send Hamilton demos of the soundtrack and get his opinion: 'I sent him the Burna Boy track,' Kosinski remembers. 'Louis was like, 'This is going to be a giant hit.'' 'We were very intentional about genre and demographic,' Weaver adds. 'We have pop records. We have Afrobeat records. We have electronic records. We have country songs.' The result is a collection of 17 tracks with broad appeal — not unlike the lineup of a major summer music festival. 'It sounds amazing,' Bruckheimer says. 'The soundtrack blends perfectly in with every scene that we put the music against.' A variance of approaches Artists on the 'F1' soundtrack found inspiration and participated in different ways. 'Sometimes it was bringing an artist in and showing them a scene, like Rosé,' who then created to that, says Kosinski. Chris Stapleton did the same. Other artists were simply given a concept or an idea to inspire them and would record a track that would later be tailored to a specific scene. For Sheeran, Kosinski came up with 10 key phrases as lyrical prompts, words that 'identify Sonny Hayes,' the film's protagonist played by Pitt. Sheeran's song, 'Drive,' was written with John Mayer and Blake Slatkin 'specifically for the end title of the movie,' adds Weaver. 'It's kind of the culmination of the Brad Pitt character.' Other artists have deep ties to Formula One — like the DJ Tiësto, who has regularly performed at F1 grands prix across the globe as part of 'a long-standing relationship' with the motorsport, as he tells the AP. Atlantic Records asked if he'd like to pitch any songs for the movie — and he actually ended up in the film, portraying himself in a big Las Vegas nightclub scene. 'I hope I win an Oscar for this,' he jokes. 'I jumped right on it,' Tiësto says of the opportunity. 'Dance music and racing, there's a connection because they're both high energy. And with F1, it's a perfect combo and it brings people together from all over the world.' That's true for the Dutch DJ especially: His song for the soundtrack, 'OMG!,' features Missouri rapper Sexyy Red. 'She heard the song, and she really loved it and, yeah, she wanted to write lyrics for it,' he says. 'It was a really cool collaboration.' For rapper Roddy Ricch, participating in the soundtrack was simply an opportunity to 'be in the company of great company,' he says, name-checking Doja Cat and Don Toliver. 'I just love being a part of things that's great.' His song, 'Underdog,' arrives in a big race moment and takes a conceptual approach to the motorsport. 'Sometimes when you're in the race of life, you feel like you may be doubted, you may be under pressure,' he says of the song's messaging. 'Just keep your head up and finish the race. The marathon continues.' The movie's director has one particular wish for the album. 'I hope people come away discovering something,' Kosinski says. 'An artist they've never heard before … and if they aren't fans of Formula One, hopefully they come away with interest or a passion for the sport.' ___ AP Sports Writer Alanis Thames contributed reporting from Miami. recommended
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