The International Alliance of Theatrical Stage Employees' Local One in New York went ahead with their planned strike against the League of American Theatres and Producers as of 10 a.m. Saturday.

"I am dismayed that just hours after my departure the employers made a 180-degree turn and began bargaining in a regressive manner. This action demonstrates a clear lack of will on the employers' part to reach an agreement and leaves me no choice but to authorize a strike," IATSE International President Thomas Short said.

He had to leave early from the negotiations to tend to the impact of the writers' strike on his union.

The strike is the second in less than five years to shut down Broadway after a four day musicians' strike in 2003. The main point of contention between the sides involves work rules that govern the number of stagehands needed for each show. The previous agreement between the union and theatre owners expired at the end of July. The talks reached an impasse last month.

"Our goal is simple: To pay for workers we need and for work that is actually performed. Stagehands are highly skilled and highly paid. They are -- and will remain -- the highest paid stagehands in the theatrical world," said Charlotte St. Martin, executive director of the League of American Theatres and Producers.

Strikers formed picket lines at theaters throughout the Times Square area. St. Martin said that anyone who has purchased tickets to shows affected by the walkout would be able to get exchanges or refunds. However, there are eight Broadway shows unaffected by the strike, as their stagehands have different Local One contracts. The shows which are still on are: "Young Frankenstein," "Mary Poppins," "Xanadu," "The 25th Annual Putnam County Spelling Bee," "Mauritius," "Pygmalion," "The Ritz" and "Cymbeline."

Picketers handed fliers which read:

We truly regret that there is no show. . . Broadway is a billion dollar a year industry and has never been more profitable than now. Cuts in our jobs and wages will never result in a cut in ticket prices to benefit the public, but only an increase in the profits for producers. Unlike the producers, we are not fighting for our second or third homes: we are fighting to keep the one that we have.