Day: March 1, 2022

Major League Baseball has canceled opening day, with Commissioner Rob Manfred announcing Tuesday the sport will lose regular-season games over a labor dispute for the first time in 27 years after acrimonious lockout talks collapsed in the hours before management’s deadline. 

Manfred said he is canceling the first two series of the season that was set to begin March 31, dropping the schedule from 162 games to likely 156 games at most. Manfred said the league and union have not made plans for future negotiations. Players won’t be paid for missed games. 

“My deepest hope is we get an agreement quickly,” Manfred said. “I’m really disappointed we didn’t make an agreement.” 

After the sides made progress during 13 negotiating sessions over 16 1/2 hours Monday, the league sent the players’ association a “best and final offer” Tuesday on the ninth straight day of negotiations.  

Players rejected that offer, setting the stage for MLB to follow through on its threat to cancel opening day. 

“Not a particularly productive day today,” Manfred said.  

At 5:10 p.m., Manfred issued a statement that many fans had been dreading: Nothing to look forward to on opening day, normally a spring standard of renewal for fans throughout the nation and some in Canada, too. 

The ninth work stoppage in baseball history will be the fourth that causes regular season games to be canceled, leaving Fenway Park and Dodger Stadium as quiet in next month as Joker Marchant Stadium and Camelback Park have been during the third straight disrupted spring training. 

“The concerns of our fans are at the very top of our consideration list,” Manfred said. 

The lockout, in its 90th day, will plunge a sport staggered by the coronavirus pandemic and afflicted by numerous on-field issues into a self-inflicted hiatus over the inability of players and owners to divide a $10 billion industry. By losing regular-season games, scrutiny will fall even more intensely on Manfred, the commissioner since January 2015, and Tony Clark, the former All-Star first baseman who became union leader when Michael Weiner died in November 2013. 

“Manfred gotta go,” tweeted Chicago Cubs pitcher Marcus Stroman. 

Past stoppages were based on issues such as a salary cap, free-agent compensation and pensions. This one is pretty much solely over money. 

This fight was years in the making, with players angered that payrolls decreased by 4% from 2015 through last year, many teams jettisoned a portion of high-priced veteran journeymen in favor of lower-priced youth, and some clubs gave up on competing in the short term to better position themselves for future years. 

The sport will be upended by its second shortened season in three years. The 2020 schedule was cut from 162 games to 60 because of the pandemic, a decision players filed a grievance over and still are litigating. The disruption will create another issue if 15 days of the season are wiped out: Stars such as Shohei Ohtani, Pete Alonso, Jake Cronenworth and Jonathan India would be delayed an extra year from free agency. 

Players would lose $20.5 million in salary for each day of the season that is canceled, according to a study by The Associated Press, and the 30 teams would lose large sums that are harder to pin down. Members of the union’s executive subcommittee stand to lose the most, with Max Scherzer forfeited $232,975 for each regular-season day lost, and Gerrit Cole $193,548. 

Scherzer and free-agent reliever Andrew Miller were present for talks. Both stopped to sign autographs for fans as they left Roger Dean Stadium, the vacant spring training home of the St. Louis Cardinals and Miami Marlins where negotiations have been held since the start of last week. 

The first 86 games of the 1973 season were canceled by a strike over pension negotiations, the 1981 season was fractured by a 50-day midseason strike over free agency compensation rules that canceled 713 games, and a strike that started in August 1994 over management’s attempt to gain a salary cap canceled the final 669 games and led to a three-week delay of the 1995 season, when schedules were cut from 162 games to 144. 

Players and owners entered deadline day far apart on many key issues and unresolved on others. The most contentious proposals involve luxury tax thresholds and rates, the size of a new bonus pool for pre-arbitration players, minimum salaries, salary arbitration eligibility and the union’s desire to change the club revenue-sharing formula. 

While the differences had narrowed in recent days, the sides remained apart, with how far apart depending on the point of view. 

MLB proposed raising the luxury tax threshold from $210 million to $220 million in each of the next three seasons, $224 million in 2025 and $230 in 2026. Players asked for $238 million this year, $244 million in 2023, $250 million in 2024, $256 million in 2025 and $263 in 2026. 

MLB proposed $25 million annually for a new bonus pool for pre-arbitration players, and the union dropped from $115 million to $85 million for this year, with $5 million yearly increases. 

MLB proposed raising the minimum salary from $570,500 to $675,000 this year, with increases of $10,000 annually, and the union asked for $725,000 this year, $745,000 in 2023, $765,000 in 2024 and increases for 2025 and 2026 based on the Consumer Price Index for Urban Wage Earners. 

 
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Yellowstone, the first U.S. national park, draws 4 million visitors annually. Parkgoers marvel at fantastic geysers, colorful hot pools and amazing wildlife. Yellowstone National Park photos courtesy of Tom Murphy Photography
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While many people spent Valentine’s Day with the traditional flowers and chocolates, Brittney Johnson was making theater history.

The young Broadway veteran was gently lowered onto the Gershwin Theatre stage to become the first Black actor to assume the role of Glinda full-time in “Wicked,” shattering a racial barrier on the day of love.

“One of the most rewarding parts of this is that it’s not just for me. I think it’s the least amount about me,” she says. “It’s about what it means for other people, for people that are going to see me do it or for people that just know that I’m here.”

Johnson is part of a sisterhood of women who have recently broken boundaries on American stages, including Emilie Kouatchou, who became the first Black woman to play Christine in “The Phantom of the Opera” on Broadway, and Morgan Bullock who has become Riverdance’s first Black female dancer.

“I do see things shifting, and I am very optimistic about the future,” Johnson says. “Because specific conversations are starting to happen now, people’s eyes are being opened in ways that they never had been before, either because they never needed to be, or because they just didn’t know what they didn’t know.”

“Wicked,” based on Gregory Maguire’s cult novel, tells the story of two young witches-to-be, one a green brooder who will be the Wicked Witch of the West and the other blond and bubbly, who will be Glinda the Good Witch.

Johnson has ended a 19-year run of white actors playing Glinda in any professional “Wicked” company, a milestone made even more powerful since Glinda is the very essence of goodliness.

“I think it’s something that, especially for little Black kids that come and feel the energy that’s being given to Glinda — somebody that looks like them — it might not be something that they experience from the world in their real life,” she says. “Seeing someone that looks like you being loved is so important to see.”

On the night the role was finally hers, Johnson’s life flashed in front of her — literally. As is the show’s delightful custom, the previous actor playing Glinda arranged for a note of encouragement and love — usually packed with photos of the new star — to be pinned to the inside curtain on her first night. Each new Glinda sees it as she makes her entrance.

“It was the first time that it was me. Usually, I’m seeing other people’s pictures and encouraging words, and it was the first time that note was left for me,” she says. “It’s really moving to have it be for you.”

Lindsay Pearce, her co-star as Elphaba, says Johnson is someone “obviously born for this” and says she’s never seen anyone work harder. She describes Johnson as gracious, fun and goofy.

Pearce was backstage watching on a monitor when Johnson on Valentine’s Day began singing the musical’s hit “Popular” when she spotted a little Black girl in the front row with her family, clapping her hands in glee.

“That’s why it’s important because theater belongs to everyone. It’s not something that only belongs to someone who looks a certain way, sounds a certain way,” she says. “Theater’s supposed to be the mirror of what the world looks like, and that’s what the world looks like.”

Johnson’s other Broadway credits include “Les Misérables,” “Motown the Musical,” “Beautiful: The Carole King Musical” and opposite Glenn Close in “Sunset Boulevard” and as a guest in Kristin Chenoweth’s Broadway concert show, teaming up with the original Glinda. She has been connected to “Wicked” since 2018, moving up from ensemble to Glinda understudy, to Glinda standby. She was onstage as Glinda when the pandemic shut down theater in 2020, but only temporarily.

Johnson saw out her contract and had moved to Los Angeles during the lull to pursue TV and film projects when “Wicked” lured her back to Oz with the promise of Glinda full time.

“It did feel like unfinished business,” she says. “I definitely felt like I had more to do in this show in particular. So getting that call really felt like the answer to internally what I thought I needed.”

Johnson grew up in Maryland close to Washington. Her mom said she was singing before she was talking. “She said that I was a drama queen from when I was a child,” Johnson says, then laughing adds: “I don’t agree.”

She was bitten by the musical theater bug in high school. Performances in “Les Misérables” in 10th grade and “Sunday in the Park with George” in her senior year convinced her that musical theater was what she wanted to do.

“I was raised to believe and to know that I could do anything,” she says. “I am not a stranger to being the first of anything or the only Black person in a room or in a situation.”

What about being the first Black Glinda? Was it on her horizon? “It wasn’t out of my realm of possibilities for me that I could be if the world allowed it,” she answers. “But after five, 10 years of not seeing any movement in that direction, I think you do start to put aside that specific dream.”

Stepping out on Valentine’s Day was a full-circle moment since Johnson had seen “Wicked” at age 15 with her mom, catching it at the Kennedy Center on tour: “I just really enjoyed it. I just loved the story. I loved the music.”

Now, the role of Glinda is hers and she can’t wait to make it her own, giving the good witch her own spin. She says there’s lots of flexibility in “Wicked” for actors to add their personality.

“They really encourage us in the rehearsal process to kind of play and find how the character fits on you. It’s not a stencil that you have to fit into,” she says. “There are things that I do discover every day about her or about about the role. There are things you can only really find when you have the opportunity to do it more than once.” 
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