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Hello TMA member,

 I am pleased to present to you a set of questions to be considered when you and your locals enter into discussions regarding return-to-work protocols with theater producers and management. This document is being sent to all Local officers by the AFM International President’s office, and will also appear in the upcoming issue of the International Musician. However, I wanted you all to see it as soon as it was approved by the International Executive Board and AFM President Ray Hair.

I would like to thank all the TMA chapter directors for their insightful input as this document was being developed, and also National TMA Vice President Heather Boehm and Secretary/Treasurer Mark Pinto for their invaluable assistance in its creation.


 In Solidarity,
Tony D’Amico, President
Theatre Musicians Association


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International Musician Article

Read the latest Pit Bulletin!

Introducing the Audience to the Pit

Musical theatre and technology have always had a bit of an uneasy relationship. The modern musical was born out of the light opera traditions of Gilbert and Sullivan in the 19th century, where it was the norm for large pit orchestras to accompany the singers on stage. The “Golden Age Of Theatre (1940’s-1960’s) saw the premiers of many of the classics of the art form by the likes of Porter, Berlin, Rodgers and Hart, and Gershwin, and culminating with the shows of Rodgers and Hammerstein. As a rule, those shows used large orchestras. Oklahoma (1943) used 28 musicians in the pit, and Carousel (1945) had an orchestra of 39. Not only did audiences expect a show to have an ensemble of this size, there was no viable technology that could replace musicians.

Things changed with the introduction of the synthesizer into musical theatre. The 1987 Broadway contract allowed the synthesizer into pits, and the instrument was used mainly to enhance the sound of orchestras still numbering in the 20’s. The 21st century brought us the Virtual Pit Orchestra; a devise whose manufacturer claimed could emulate the entire pit orchestra, with just one person, known as the “tapper” controlling tempo and dynamics.

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The AFM applauds the passage of the FAA Bill that sets a
consistent national policy allowing musical instruments on airplanes

After five years and 23 short-term extensions, Congress has passed legislation reauthorizing the Federal Aviation Administration (FAA) for the next four years. Included in the bill are provisions that create a uniform national policy regarding musical instruments on airplanes. Any instrument that can be safely stored in the overhead compartment or underneath the seat may be brought on board as carry-on luggage. Additionally, the bill sets standard weight and size requirements for checked instruments, and permits musicians to purchase a seat for oversized instruments, such as cellos, that are too delicate to be checked. Existing law allowed each airline to set their own policy regarding musical instruments, and size requirements varied widely for both carry-on and checked baggage. The American Federation of Musicians (AFM) has been lobbying Congress to enact such a policy for nearly a decade.

"This is great news for professional musicians throughout the U.S. and Canada who carry the tools of our trade (our instruments) aboard commercial aircraft," said AFM President Ray Hair. "Ending the confusion over musical instruments as carry-on baggage has been a top legislative priority for nearly a decade. I am proud of our Government Relations Director, Hal Ponder and his assistant Laura Brigandi in our Washington legislative office for seeing the effort through. Musicians can now fly in friendlier skies."

The FAA reauthorization was passed by the House of Representatives on Friday, February 3 by a 248-169 vote. It subsequently passed the Senate on Monday, February 6, 75-20.  The President is expected to sign the bill into law.

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