Performers at the English National Opera’s have voted to go on strike in protest over funding and job cuts.
Member’s of the company’s orchestra, chorus and music staff will walk out on February 1, which coincides with the opening night of The Handmaid’s Tale.
But as the saying goes, the show must go on, and the ENO are scrambling to form a contingency plan in the hopes of doing just that.
It comes after unions representing the company’s orchestra and chorus confirmed their plans to picket the London Coliseum on opening night – February 1.
Musicians’ Union and Equity confirmed the strike on Wednesday, minutes before the opera announced that BAFTA nominated actor Juliet Stevenson had joined the cast in a non-singing role for the show based on Margaret Atwood’s acclaimed 1985 novel.
The company was due to stage five separate productions in its shortened two-month season this year to save money, after being forced to relocate outside London by Arts Council England (ACE), which withdrew its subsidy in November 2022.
The unions said the ENO’s proposals were ‘disproportionate, unsustainable for our members at the ENO and show disregard for the artistic workforce’.
Unions representing the company’s orchestra and chorus announced it would take industrial action on February 1 – the opening night for the show based on Margaret Atwood’s acclaimed 1985 novel
Union members agreed to the walk out in December after ENO announced plans to employ them for only six months of the year, as well as cutting 19 of the 69 orchestral positions
Union members agreed to the walk out in December after ENO announced plans to employ them for only six months of the year, as well as cutting 19 of the 69 orchestral positions
Union members agreed to the walk out in December after ENO announced plans to employ them for only six months of the year, as well as cutting 19 of the 69 orchestral positions.
In the same month, the headquarters of the respected opera company was forced out of the capital after Arts Council England (ACE) adjusted its funding plans.
Controversially, ACE went as far as to threaten to axe its annual £12million grant if the opera refused to find a new location. The funding body has since begun to gradually reintroduce its financial support.
ENO considered Birmingham, Bristol, Liverpool and Nottingham as its potential new home but eventually announced Manchester would be its main base from 2029.
It hopes to continue renting out its current home in the capital to commercial companies for the majority of the year.
They called on audience members to ‘show solidarity with the orchestra and music staff, some of whom could lose up to 70% of their work’.
Naomi Pohl, the general secretary of the Musicians’ Union, said: ‘This is an historic moment for the Musicians’ Union and the UK’s orchestra sector, the first time we’ve been on strike since 1980.
‘The management have decided to cut our members down to six months of work per year and this risks a wonderful, talented and specialist orchestra dissipating. It is heartbreaking to see the impact on the individuals affected.’
Paul Fleming, general secretary of Equity which represents chorus members, said the ENO was ‘throwing the artists. who audiences pay to see, under the bus while protecting the pay of senior management.’
The empty auditorium of the London Coliseum, current home of the English National Opera
Banners advertising operas being performed by the English National Opera, in central London
Glen Sheldon, a violinist in the orchestra and Musicians’ Union steward, said: ‘It simply cannot be right for a publicly funded opera company to consider functioning with a half-time orchestra but full-time management.
‘The threat to our musicians’ livelihoods, homes and wellbeing threatens their very ability to continue in the profession to which they have devoted their lives. This in turn threatens the quality and world-class standing of the ENO as a company.’
The two-month season starting on February 1 includes The Barber of Seville, The Magic Flute, Jenůfa, Duke Bluebeard’s Castle as well as The Handmaid’s Tale.
The ENO said in a statement: ‘Everyone at ENO respects trade union members’ right to industrial action as part of our ongoing negotiations. However, we are disappointed that in doing so, it means audiences will miss out on an opportunity to experience the work and talent of the entire ENO company. We believe that the issues raised could be best resolved around the negotiation table.
‘We remain committed to continuing our conversations with the unions in good faith as we work towards a sustainable future for ENO, within the context of our funding agreement reached with Arts Council England in July 2023.
‘We will do all we can to ensure our audiences experience least disruption possible, and any audience members impacted by this action will be contacted at the earliest opportunity.’