Backstage opera staff may join job cuts strikers

Wigmakers, stage technicians, costumiers and cleaners could join striking chorus singers at the beleaguered English National Opera company after management confirmed plans yesterday to cut jobs to plug a swelling deficit.

The ENO announced that up to 100 permanent artistic, technical and administrative staff will face redundancy - a fifth of the company. This figure includes the 20 chorus members threatened with redundancy under plans to shrink the chorus by a third.

The ENO said redundancies were expected to start in June, on a voluntary basis at first. It also planned to slash the number of performances in each season from 175 to 150. The number of new productions would be cut from eight to six each season, and revivals reduced from 10 to nine.

The ENO had anticipated performing in venues outside the restored Coliseum, freeing its home for visiting opera and dance companies. The executive team, led by the new artistic director, Sean Doran, would include a production director, who has yet to be chosen.

The strategy was drawn up to halt a £1.2m deficit which is forecast to grow to £4.2m by 2004. The plans have been submitted to the arts council which meets next week to decide how much financial support it will give the company, and under what conditions. An ENO spokeswoman said: "Unless savings can be made by reducing fixed costs, the company will not survive."

But increased strike action could soon add to its woes. The technicians' union, Bectu, which represents stage technicians, costume makers, cleaners, porters, and maintenance and security staff, is to ballot for strike action. The ENO chorus, whose members belong to Equity, has already staged its first strike and a protest concert of Verdi's Requiem at a Covent Garden church. A second chorus strike is planned for April 3.

William Donaghy of Bectu said: "We are balloting members as a last resort. The outcome of negotiations in September last year was that our members would not face compulsory redundancies. It is difficult to negotiate with a company that does not act in good faith."

In a further complication for the ENO there are thought to be divisions within the arts council panel considering the cost-cutting strategy.

Asked if half the panel felt they were unable to endorse the plans, David McNeill, from the council, said: "Whenever we have a high-profile case it is unlikely that everything, every proposal and piece of detail, will be accepted by everyone. We will make a practical decision based on the plans we have in front of us."