Salary: Varies—see profile
Employment Outlook: Poor
Definition and Nature of the Work
Stagehands perform a variety of behind-the-scenes functions in many kinds of productions. Although most often associated with the theater, they also work in film, commercials, and television. Stagehands are responsible for building, maintaining, moving, and storing sets. They take care of the many changing details in a stage, television, or movie production.
Prop stagehands are in charge of "props," a shortened term for "stage property." Props are the smallest parts of a stage setting. They range from personal props such as gloves, eyeglasses, and other items that an actor wears, to hand props that an actor may carry such as books or a briefcase, and set props such as furniture and rugs. Prop stagehands ensure that these items are in place at the beginning of a scene and that they are collected at the end of a scene. Prop stagehands may also be responsible for locating and obtaining props.
Other stagehands, known as grips in the motion picture and television industries, move equipment and scenery. They often set up flats (movable wooden frames used in stage scenery) and may paint or decorate them according to the scenic designer's specifications. When a production is completed, the grip dismantles the scenery or set pieces and stores them or prepares them for return to the supplier.
Theatrical stagehands are called flyers if they hand the scenery up into the roof and lower it down on stage. Some stagehands work with electricians or lighting people. They set up lights for the lighting director, make sure the equipment is working, and put the equipment away. Theatrical stagehands often work under the supervision of a sound engineer as well. They are responsible for the sound system, which produces music and amplifies the artists' voices.
In union theaters and studios, these different jobs are divided among many stagehands. In nonunion theaters, each stagehand may perform several tasks.
Education and Training Requirements
Stagehands must be strong and physically fit because they routinely lift and carry heavy equipment. Most training for this position occurs on the job. Prospective stagehands must know how the equipment works, what it can do, and how to fix it in an emergency. More advanced stagehands have training in electrical work, carpentry, or photography. It is increasingly important, especially in video production, for a stagehand to have formal education in technical areas to work with computerized equipment.
Some vocational schools and two-year colleges offer courses in the technical and artistic skills needed for advanced stagehand work. Candidates should be interested in drama, dance, and music since they will be surrounded by people and activities related to these fields every day. It is also helpful to have experience working on school plays, video productions, or community playhouse performances.
Getting the Job
Interested individuals can apply directly to community theaters and college playhouses for work as a stagehand. Many openings in summer stock and local theaters provide seasonal jobs for students. Some corporations have their own video production studios and hire freelance rather than union labor; however, many theaters, television stations, and film studios require union membership. Unions offer apprenticeship programs but may accept only a limited number of apprentices each year.
Opportunities in theater depend on the number of local productions per season and on public and private funding of theaters. Stagehand positions are more plentiful in New York City's theater district than anywhere else in the United States. Television and motion picture stagehands are in greater demand in Los Angeles, California.
Advancement Possibilities and Employment Outlook
Experienced stagehands sometimes specialize in one aspect of behind-the-scenes production, becoming electricians, carpenters, production assistants, or scenic designers. They may also move into stage management. According to the Occupational Information Network, the employment outlook for stagehand work is poor, with projected growth being slower than average. Prospective stage-hands may have a better chance finding work in video production for the music industry, cable television, or corporate production studios.
Working Conditions
Stagehands may work on productions either indoors or outdoors, in theaters or studios, or "on location." They may have additional outside duties. Stagehands belonging to a union must abide by union rules and work only within their job title and description. All stagehands perform physical labor such as lifting and moving heavy props. They may also be called on to work overtime. Union members work a forty-hour week, usually on different shifts.
Earnings and Benefits
The salary range varies because this job title covers many kinds of workers. Union members usually earn more than nonunion stagehands. Pay varies according to the location and size of the production facility. According to the Bureau of Labor Statistics, stagehands, grips, and set-up workers earn a median hourly salary of $9.79. Pay in New York is generally higher. Assistant stagehands in commercial television unions reportedly earn a minimum of $700 a week.
Union contracts provide benefits, including health insurance, vacations, and pension plans. Larger television stations tend to be unionized; smaller ones usually are not. Many public, cable, production house, and corporate video departments are not unionized.
User Comments Add a comment…
25 days ago
indeed this write up is wildly inaccurate. In non union settings perhaps less than ten dollars in hour might be market minimum average for pay...if you're including lots of small theaters with part time employees in middle of nowhere places. I work in a mid sized American city. Granted it has a very large theater district and several large employers. EVERYTHING in this write up is wildly inaccurate. To begin with, if you're a union stagehand you do lots of work in different markets to different ends. Concert production is a staple of MANY I.A.T.S.E. locals and this entire market was left out of this description of the job. As well as the many other departments a stagehand can be working in on any given sunday. Sound. Lights. Spotlight. Rigging. Climber. Electrics. Carpenters. Pushers. Loaders. Set. Backline. These are all job descriptions often used when being a stagehand. I work in a very strong stagehand market with a very weak economy. It's a bit of a paradox but everything in this city is. See Pittsburgh. It's got very slow growth and some decline. We've lost nightclubs, we've gained corporate contracts. We do alot of audiovisual corporate work now, for everything from conventions in hotels to putting together large installations (much like sets) in museums and the local history center. We do some atypical venue work, such as large galleries. The job is a fantastic job. It does currently have a slow growth rate but that is expected to change remarkably quickly in the diversifying economy. As record labels sell less records more artists will have to tour. They will need more labor to fulfill contracts with an expected upsurge of performances and larger tours and festivals, which have been in a steady decline after record breaking million dollar contracts for record sales. As corporations adopt more technology they will also and have been already adopting more "staged presentations" that will include...and have included in my experience, small video shoots, large presentations with props, lights, sound equipment, video equipment. All of which needs assembled by audio visual experts... The pay is very high. I'm in a market where 100,000 a year is still a great great deal of money. A stagehand working in Pittsburgh earning 40 grand a year is living better than a programmer living in an LA suburb and earning 65 grand a year. I won't go into specifics about what is average income in my hall or what speculation as to incomes of top earners are...it's not protected information but it's not often volunteered either. 40k a year isn't average, especially since many union brothers and sisters are part time because it's an excellent part time job if you can pull it off successfully. It's not easy and it's VERY difficult starting out. There is a painful apprenticeship period if you do not have a second income that is reliable and steady. Once you get into it and seniority rules...you do alot of technical work, it's a fun and rewarding job that is almost never the same thing twice, you have the choice of your hours and can cherry pick the best gigs and the best rates of pay. Alot of it is up to a business agent and a strong sense of ownership within the local... But it's hard to get into a local hall like most of the last and strongest remaining unions positions are competitive and most people who try to get into it will find that it is very difficult when you start. Most people who get on the overflow list (you don't even get to start as a real apprentice) will do nothing but physical brute labor for several years in most of the larger markets. But the eventual payoff is very rewarding and can also lead to many private industry jobs. And you can once in a union hall work a non union job by gig or by contract or by permanent employment and stay a part time stagehand. Also be warned that not all stagehand locals cover film production, some locals compete slightly in the same market, some markets will have one local that does just theater one that does just movies... It's a little different everywhere. This page needs rewritten with more accurate information. Interested applicants should have a foot in the door already, experience in a smaller theater or with a company that does something in the business of film television concert/sound production or theater... Welders and carpenters are very often needed and very often if in a local hiring hall for welding or carpentry these applicants have a better chance of getting in. But it's an intentionally well protected trade. Paternally and maternally protected as well. You can't pass off positions like you can ownership of a company but nepotism plays a competing but not illegal or insurmountable role in getting your foot in the door of the hall. If you have a skill that makes you useful and are willing to learn a lot more skills in other related fields you have a genuine passion for the theater or music or film and you can deal with, in some markets, half a decade or more of irregular, highly labor intensive work...go for it.
about 1 month ago
My name is Hugh Mulcahy and I would like to become a stagehand In New York City. I currently work for a company which may go out of business. I have one small child and one on the way. I will be 31 years old and I am in good physical shape. I have been told by people in the theatre industry that I would be great in this field. I am hard working,reliable,and eager to learn in this field. I would just like to find a lead as to how Do I get my foot in the door somehow? My current union is teamsters, And I would like help from them if the can help me in this field. If anyone out there can help a hard working guy trying to get a crack in this field, Please let me know.
5 months ago
FIRST OF ALL THANK YOU FOR TAKING THE TIME TO READ THIS LETTER.I am interested in becoming a stage hand how do i find a job?I'm phisicaly in shape 28 years young married with three little kids living in miami fl willing to relocate.I box profesionaly on the side it's hard to get fights so i'm in need of a career,i have a brother he used to work for CIRC 'DE SOILA. HE AND I SPOKE RECENTLY ABOUT MY BOXING STUFF SLOING DOWN I SHOULD GET A GIG DOIN STAGE HAND, HE ALSO SAID I AM PERFECT FOR THIS KIND OF THING I'M HARD WORKING,RELIABE, highly motivated and eager to learn .I listen well and follow through on tasks if anyone should happen to be able to i appriciaet a point in the right direction.I AM AVAILIBLE STARTINGYESTERDAY,I'LL WORK NIGHTS,WEEKENDS,HOLIDAYS,AND RAINIE DAYS TOO
6 months ago
The information you give could not be more wrong. I have worked as a "union Stage Hand" for 30 years. The outlook for jobs could not be better and if you want to feed and support a family, going union is the only way. As a starting "EXTRA" (Non union employe paid as union) in NYC you can make 30 to 70 thousand and as an experienced stage hand you can make from 80 to 160 thousand dollars. Yes some people make more, but I am talking about the average stage hands.