Those same artistic directors and producers pick and choose who is in favour and who isn’t. Your fortune or failure can be at the whim of whoever is the boss of a state theatre company or national opera company at any time. Someone who was booking several gigs a year under one artistic director may suddenly find themselves begging for scraps when the leadership changes.
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After two years of live performance largely being shuttered due to the pandemic, these issues are only exacerbated. After earning little to no income and receiving limited government support the financial need to work has grown – as has the need to be creative. Competition for the small number of opportunities available is high and even the slightest whiff of scandal or being perceived as troublesome could end your chances before they have even begun.
Live performance is a stressful enough job on its own. Your work, when you are fortunate enough to land a role, is scrutinised by thousands of people every time you step on stage – by audiences, critics and the team whose job it is to ensure the quality of the production.
Institutions, who demand so much from performers and are rewarded so handsomely for their work by ticket buyers, have an obligation to ensure the places artists work are safe and free from bullying and harassment.
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This week, Opera Australia will have the opportunity to demonstrate whether it is an organisation that cares about the safety and comfort of its workers.
The revelation that at least one in three people who work at the national opera company believe bullying and harassment are a problem is alarming, that more than half of staff don’t feel comfortable speaking up or making a complaint is unacceptable.
Opera Australia now must decide whether it will act on these revelations. Is it a marquee arts organisation providing a lighthouse for the rest of the industry? Or will it, like the rest of the industry, push this all under the rug and perpetuate the issues that have existed for too long.
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