Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house. I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why. In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu. For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

Applying Some Perspective In St. Louis

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In a recent article published in the 03/05/05 edition of the St. Louis Post-Dispatch, the article’s author, Sarah Bryan Miller, challenges one of the basic concepts which have successfully driven the increased artistic and financial accomplishment of orchestras since the early 1960’s.  The concept of having musicians set financial goals for the organization via contract negotiations.

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Harvest, Build, And Destroy – Part 3

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Part 2 of this series included examining the goals for developing a system whereby the musicians in any given orchestra can maintain an ongoing active participation in organizational affairs without that work overloading their artistic responsibilities.  One astute reader wrote in with a wonderfully concise summary of the goals: “The ultimate goal seems to be to give the musicians and their negotiating committees better information in real time, so they don’t …

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What’s up With Destroying Things

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For those of you stopping by today to read the final installment in the Harvest, Build, and Destroy series, I have to offer my apologies.  Due to some last minute preparations for meeting with my accountant (taxes!), I wasn’t able to put the finishing touches on the article; however, it will be published on Monday Nevertheless, allow me take this time to further explain some of the concepts from Part1 and …

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Harvest, Build, And Destroy – Part 2

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Part 1 of this series concluded by asking if it’s possible for musicians to pay more attention to administrative activities without also having to sacrifice their artistic duties.  Is it possible to harvest resources, build procedures, and destroy a competitor’s opportunity to act in bad faith? It is possible to accomplish those goals without also overloading the musician representatives elected to function as the liaison between managers and the players.  Although …

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Harvest, Build, And Destroy – Part 1

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There’s little doubt that the recent events surrounding the breakdown of negotiations at the St. Louis Symphony Orchestra will be examined in minute detail over the coming months; who did what, 20/20 hindsight, etc.  These examinations will more than likely result in some improved tactics for both managers and musicians for future contract negotiations.

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