Local 794, Television Broadcasting Studio Employees Union, I.A.T.S.E. v. Metropolitan Opera Association, Inc.

CourtDistrict Court, S.D. New York
DecidedMarch 31, 2022
Docket1:21-cv-03821
StatusUnknown

This text of Local 794, Television Broadcasting Studio Employees Union, I.A.T.S.E. v. Metropolitan Opera Association, Inc. (Local 794, Television Broadcasting Studio Employees Union, I.A.T.S.E. v. Metropolitan Opera Association, Inc.) is published on Counsel Stack Legal Research, covering District Court, S.D. New York primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Local 794, Television Broadcasting Studio Employees Union, I.A.T.S.E. v. Metropolitan Opera Association, Inc., (S.D.N.Y. 2022).

Opinion

UNITED STATES DISTRICT COURT DATE FILED: 03/31/2 022 SOUTHERN DISTRICT OF NEW YORK ------------------------------------------------------------------- X : LOCAL 794, TELEVISION BROADCASTING : STUDIO EMPLOYEES UNION, I.A.T.S.E., : : Petitioner, : 21-CV-3821 (VEC) : -against- : OPINION & ORDER : : METROPOLITAN OPERA ASSOCIATION, INC., : : Respondent. : : ------------------------------------------------------------------- X VALERIE CAPRONI, United States District Judge: Petitioner Local 794, Television Broadcasting Studio Employees Union (the “Union”), which represents technicians employed by Respondent Metropolitan Opera Association, Inc. (the “Met”), brought a petition in New York state court to vacate an arbitration award issued pursuant to a collective bargaining agreement (“CBA”). The Met removed the petition to this Court and cross-moved to confirm the arbitration award. The Union moved to remand the case to New York state court. For the following reasons, the Union’s motion to remand is DENIED; the Union’s petition to vacate the arbitration award is DENIED; and the Met’s cross-motion to confirm the arbitration award is GRANTED. BACKGROUND1 The performing arts industry in New York City was hit particularly hard by the COVID- 19 pandemic. Seeking to generate some revenue after the March 2020 shutdown, the Met announced an online pay-per-view series of twelve concerts available for streaming. The 1 The facts, drawn from the parties’ filings, are assumed to be true for the purpose of deciding the present motions. concerts featured opera singers performing from locations in the United States and Europe. Pet. to Vacate, Dkt. 1-1 ¶¶ 16–17; Pet. to Confirm, Dkt. 11-1 ¶¶ 10, 14. The series was hosted by Christine Goerke, an opera singer. Pet. to Vacate ¶ 18. The technical work associated with the series was performed by non-union staff from a control room located in New York City but not in the Metropolitan Opera House. Id. ¶¶ 17–18, 24. The Union, which has represented technicians employed by the Met since 1975, see id. ¶

12, contended that the CBA required the Met to use Union labor to staff the series, see id. ¶ 31. After attempts to resolve the dispute amicably failed, the Union served written notice of its grievance and demanded arbitration pursuant to the dispute resolution procedures in the CBA. Id. ¶¶ 31–34; Pet. to Confirm ¶¶ 9–11. The parties mutually designated Rosemary Townley as the Arbitrator. Pet. to Vacate ¶ 35; Pet. to Confirm ¶ 13. The Arbitrator was tasked with deciding the following issue: “Did the Employer violate the collective bargaining agreement in its staffing of the twelve (12) pay-per-view Metropolitan concerts streamed recital events that commenced in July 2020? If so, what shall be the remedy?” Pet. to Vacate ¶ 37; Pet. to Confirm ¶ 12; Arb. Award, Dkt. 13-2 at 2. On January 12, 2021, the Arbitrator conducted a hearing over Zoom. Pet. to Vacate ¶ 35; Pet. to Confirm ¶ 13. The

Arbitrator heard testimony from several witnesses, but the proceedings were not transcribed. Pet. to Vacate ¶¶ 36, 38. The parties also submitted stipulated facts and seven joint exhibits as part of the arbitration proceedings. See Joint Exhibits & Stipulations, Dkt. 19-2. On February 18, 2021, the Arbitrator issued an award, denying the Union’s grievance and deciding that the Met did not violate the CBA when it staffed the concert series with non-union labor. Arb. Award at 10. The Arbitrator analyzed Article I of the CBA, which defines the Union’s jurisdiction under the agreement. Id. at 9–10. With respect to the first part of Article I(A), which discusses the types of employees covered by the CBA, the Arbitrator found that “there can be no question that the contested work at issue clearly falls within the jurisdiction of the series of classifications and titles set forth in Article A. . . .” Id. at 9. The Arbitrator also found that the requirements of Article I(B), relating to the territorial jurisdiction of the Union, were satisfied because the technical control room used for the concert series was located within 125 miles of the Met. Id.

But the Arbitrator denied the grievance under Article I(C) and the second part of Article I(A). Id. at 10. Article I(C) states that the CBA applies only “to those television performances of performances at the Metropolitan Opera House which are produced and/or controlled by the Met.” CBA, Dkt. 13-1 at Art. I(C). The Arbitrator, possibly relying on an outdated version of the CBA, see Resp., Dkt. 18 at 18–19, misquoted Article I(C) in the arbitration award; she asserted that the provision limits the applicability of the CBA to “those television performances of Metropolitan Opera performances which are wholly produced and controlled by the Employer,” see Arb. Award at 2. In any event, the Arbitrator found that: The facts of this case reveal that the [pay-per-view] Met Stars series was a streaming, online production that was wholly directed and controlled by Christine Goerke and not the Met Opera House. The same company is responsible for the National Opera Auditions which is of a similar nature, as the Met House plays no part in its direction and control. Moreover, this fact was recognized years ago by the Union when it was acknowledged during the hearing that it never filed a grievance because of its awareness that the conditions surrounding the National Opera Auditions did not meet Article (C).

Id. at 10. Pursuant to the second part of Article I(A), which provides that the “jurisdiction of the Union shall be in accordance with the past practice of the parties,” see CBA at Art. I(A), the Arbitrator found that past practice indicates that union members were assigned to particular events that occurred in locations other that the Metropolitan Opera House because “the Met had production and control over them.” The Arbitrator then concluded that “[h]ere, the Met did not display any similar control” over the pay-per-view series. Arb. Award at 10. The Union claims that the Arbitrator’s finding that Christine Goerke produced and controlled the pay-per-view series was irrational because Goerke is an opera singer who does not have a production company and whose role was limited to hosting the series.2 Pet. to Vacate at ¶¶ 18–19, 27, 71–72. The Union further argues that the Met did not contest during the arbitration that it controlled or produced the concert series,3 see Resp., Dkt. 18 at 11, and that a

review of the exhibits submitted to the Arbitrator undisputedly establishes that the series was, in fact, controlled and produced by the Met, see Pet. to Vacate ¶¶ 16, 20–22, 41–45. On April 9, 2021, the Union filed a petition in New York County Supreme Court to vacate the arbitration award pursuant to Section 7511 of the New York Civil Practice Law and Rules (“CPLR”). Id. ¶ 2. The Union claimed that Section 7511 requires vacatur because “(a) the Award was totally irrational and lacked evidentiary support; and (b) the award was so imperfectly executed that a final and definite award upon the subject matter submitted was not made.” Id. On April 29, 2021, the Met removed the case to this Court. See Not. of Removal, Dkt. 1. The Met opposed the Union’s petition to vacate the award and cross-moved for

confirmation of the award. Mem. of Law, Dkt. 12. The Union moved to remand the case to state

2 The Union also points out that Goerke was not involved in the “National Opera Auditions,” the event referenced in what the Union considers to be the problematic paragraph of the arbitration award. The Union further explains that, as discussed by witnesses at the arbitration hearing, the National Opera Auditions were produced and controlled by Susan Froemke and her company, Susan Froemke Productions. Pet. to Vacate, Dkt. 1-1 ¶ 72.

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Bluebook (online)
Local 794, Television Broadcasting Studio Employees Union, I.A.T.S.E. v. Metropolitan Opera Association, Inc., Counsel Stack Legal Research, https://law.counselstack.com/opinion/local-794-television-broadcasting-studio-employees-union-iatse-v-nysd-2022.