How to become A Stagehand

Quintessential behind-the-scenes workers, unnoticed and unrecognised until a mishap, Stagehands build, maintain, move, and store sets to ensure a seamless performance on stage and in films, commercials, and television shows.

• Stage Technician
• Stage Crew
• Stage Worker
• Crew Member
• Theatrical Technician

What do Stagehands do?

A Stagehand would typically need to:

• Help get the stage or set ready for performance in the theatre, at concerts, and in TV and film studios
• Load and unload equipment; set up and break down stages and sets; build and dismantle platforms; assemble scaffolding and lighting rigs
• Assist in setting up light and sound equipment, special effects devices, and mechanical or moving parts needed for the production
• Paint sets, construct and repair props, operate sound and lighting equipment, and perform other jobs assigned by the production manager or director
• Go to rehearsals to figure out requisite scene changes in readiness for actual performances; help actors during costume changes
• Transport props, scenery, furniture, and heavy equipment to and from storage areas and rehearsal spaces during set/scene changes
• Confirm all construction activities are carried out in strict accordance with standard safety regulations to ensure the safety of all performers and the audience
• Stand by on the stage during performances in case of emergencies, such as equipment failure
• Ensure that all equipment is stored correctly after use; conduct regular maintenance checks to make sure it is in good working order
• Open and close curtains between acts and clean up after a show or performance, if working in a theatre
• Drive and tow vehicles inside the crowded film or television studios or on location; use customised set-piece moving and lifting equipment

Stagehands may work indoors or outdoors in diverse venues, performing manual tasks that require lifting and carrying heavy and delicate objects alike. Union members must abide by union rules and work within prescribed parameters.

The working conditions may range from hot and dusty to cold and icy. International productions and those that involve touring would require travel and extended periods away from home.

Stagehands employed in theatre often work long hours, including evenings and weekends, when most performances happen; they may need to remain on call and report for duty immediately. Their work shifts vary per daytime rehearsals, matinee shows, and evening performances.

Although TV and film stagehands also work more than 40 hours per week and may be asked to work overtime, the bulk of their work may be during the day. 

Research suggests that flexible hours and generous telework policies appeal more than salary to the younger generation. There has been an incremental increase in employers willing to give promising employees a chance to adjust their schedules per the work pressure.

Finding a new job may be challenging. Stagehands can boost their job search by asking their network for referrals, contacting companies directly, using job search platforms, attending job fairs, leveraging social media and inquiring at staffing agencies.

Stagehands are generally employed by:

• Theatres
• Concert Halls
• Convention Centres
• Film & Television Studios
• Touring Companies
• Corporate Production Studios
• Music & Video Production Studios
• Music Companies
• Cable Television Companies

Professional associations and organisations, such as the International Alliance of Theatrical Stage Employees (IATSE), are crucial for Stagehands interested in pursuing professional development or connecting with like-minded professionals in their industry or occupation. 

Professional associations provide members with continuing education, networking opportunities and mentorship services. Membership in one or more adds value to your resume while bolstering your credentials and qualifications.

Many theatres, television stations, and film studios prefer to hire Stagehands who are members of bonafide unions. Union members may enjoy better salaries and work conditions but need help freelancing and choosing their next job.

• Physically demanding work, which can result in severe accidents and injuries, enforced absence from work and subsequent loss of income, if not accompanied by proper training and safety protocols
• The negative impact of long and irregular work schedules, with on-call a standard feature, on work-life balance
• Tight deadlines that require a cool head and attention to detail amidst immense chaos and stress
• Tight and possibly uncomfortable workspaces, such as backstages areas and small storage rooms
• Mistakes and delays in the production due to language barriers and lack of effective communication
• Availability of work dependent on public and private funding of theatres and number of local productions during the season, if employed in a theatre
• Location-centric employment opportunities that mandate the need to live in particular cities and be geographically mobile
• An unstable source of income and job security if one is a freelancer competing with many others for a lucrative job

Aspiring Stagehands will benefit from tasks outside the classroom that align perfectly with lessons inside it. One may hear countless stories and obtain valuable hands-on experience from more experienced professionals who can turn seemingly routine incidents into unique learning moments.

Amateur productions and local theatres that hire casual backstage staff offer valuable work experience to aspirants with a professed interest in drama, dance, and music. Successful candidates begin to learn the tricks of the trade while getting a feel for the hard work, long hours, and dedication the profession mandates.

Experience, more than an academic education, would help Stagehands gain proficiency in setting up the stage before a live performance, placing props and handling light and sound equipment efficiently.  

Cold call or send in your resume to low-budget filmmakers and local amateur drama companies that may be interested in hiring fresh graduates and providing them with priceless film or theatrical experience.

Short-term paid/voluntary work at art festivals and concerts offers a taste of the work, help build valuable contacts, and improves one’s prospects of getting a permanent job. You may hit the jackpot with large theatres and production companies that prefer to hire freelance for several weeks or months.

Seasonal jobs in summer stock and community theatres may offer rewarding internships. Trade unions are also a valuable source of highly-coveted apprenticeships, which may translate into union jobs for theatres, television, and film studios.

Any educational programmes or learning experiences related to technical theatre and work construction crafts such as joinery, metalwork, painting, and decoration will further add to your appeal as a prospective Stagehand.

Metropolitan areas offer the most employment opportunities for Stagehands, although towns and rural areas also have theatres and concert halls. Other options include touring artists and companies who usually hire freelance stage crews.

Even while in high school, you can check with a teacher or counsellor about relevant work-based learning opportunities available in your school or community that can help you connect your school experiences with real-life work.

School plays, video productions, and community playhouse performances offer myriad opportunities to understand the workings of stage equipment and how to fix it in an emergency while learning about yourself and being directed toward a future career. 

Read about the profession and interview/shadow experienced Stagehands to prove your commitment to course providers and prospective employers.

A high school diploma or GED (General Education Development) may suffice to get a job as a Stagehand, provided you can prove your ability to perform the requisite tasks. 

However, employers show an increasing preference for candidates who have completed college or trade school programmes in theatre or performing arts which teach the basics of acting, directing, scripting, and stagecraft. 

In general, a bachelor’s or associate degree should do the trick. Viable alternatives include certificates, diplomas, and foundation degrees that offer various skills in performing arts, production arts, technical theatre, creative and media, and stage management. 

Check with individual institutions for specific entry requirements. Some may relax the rules for applicants with relevant skills and experience.

Recommended college preparatory courses in high school include mathematics, drama, media, woodwork or shop class. English and speech classes will help you develop your research, writing, and oral communication skills.

Remember that completing a particular academic course does not guarantee entry into the profession. Be that as it may, your professional qualifications and transferable skills may open up more than one door.

Do your homework and look into all available options for education and employment before enrolling in a specific programme. Reliable sources that help you make an educated decision include associations and employers in your field.

Certification demonstrates a Stagehand’s competency in a skill set, typically through work experience, training, and passing an examination. Successful certification programs protect public welfare by incorporating a Code of Ethics.

While optional, certifications that equip you with the requisite knowledge and skills to work with specific equipment may help you get plum assignments. Some regions offer specialised certification programmes for stage technicians in the entertainment industry, which can make you a strong candidate for the role.

In addition, accredited organisations in your region may offer valuable certifications in safety procedures, rigging and hoisting, electrical safety training, scaffolding, and aerial lifting. 

Recognised certifications in fire prevention and protection, fall protection, hazard communication, health regulations, first aid and CPR, and lockout procedures would be of equal value.

Certification from an objective and reputed organisation can help you stand out in a competitive job market, carry a significant salary premium of up to 18 per cent, increase your chances of advancement and become an independent consultant.

Stagehands may also need to undergo an employment background check, including but not limited to a person’s work history, education, credit history, motor vehicle reports (MVRs), criminal record, medical history, use of social media and drug screening.

A job as a Stagehand is a promising beginning to a long and lucrative career in the entertainment industry. Most incumbents enter the field as part-time, temporary, on-call, or freelance workers at the beck and call of diverse employers. Video production for the music industry, cable television, or corporate production studios holds better chances of employment. 

Career advancement is as simple as finding a full-time permanent job with a single employer. After that, a few may become Production Managers, Stagehand Supervisors, Technical Stage Managers, or Technical Directors; others may choose to open their own Stagehand business after acquiring adequate experience, contacts and funds.

A keen interest in one aspect of behind-the-scenes production may motivate some experienced Stagehands to specialise as Electricians, Carpenters, Production Assistants, or Scenic Designers. 

Established professionals can move from touring companies and smaller venues to theatres in metropolitan areas or more prominent production companies. You may also use the knowledge and experience gained to train for related roles, such as Lighting Technicians or Sound Technicians.

The desire to accelerate career growth and personal development has an increasing number of millennials choosing to job hop and build a scattershot resume that showcases ambition, motivation and the desire to learn a broad range of skills.

Studies prove that job hopping, earlier dismissed as “flaky” behaviour, can lead to greater job fulfilment. Employees searching for a positive culture and exciting work are willing to try out various roles and workplaces and learn valuable and transferable skills.

Stagehands with a genuine interest in theatre, film, or television, adequate knowledge and experience of stagecraft, acting, and directing, and requisite physical strength and stamina have the best job prospects.

Continuing professional development (CPD) will help an active Stagehand build personal skills and proficiency through work-based learning, a professional activity, 

formal education or self-directed learning. It also enables the regular renewal of desirable certifications.

New hires usually receive a month-long on-the-job training on safety procedures, the proper use of equipment, as well as the setting up and breaking down of the set/stage.

Technical stage managers take care of the training in a theatre set-up while supervising stagehands do it for film and television production companies.

In addition, your local theatre technicians or stage management association may offer a range of short courses in all technical aspects and industry-related health and safety issues essential for your sustained professional growth.

Vocational schools and two-year colleges offer courses that take care of a significant portion of requisite advanced electrical work, carpentry, and photography training. Nowadays, the learning expectations extend to formal education in technical areas to facilitate working with computerised equipment in video production. 

Forward-thinking Stagehands may also want to take advantage of industry-endorsed further education courses in 35mm film craft skills, including set building and lighting/effects. 

Most opportunities in theatre depend on public and private funding and the consequent number of productions per season. Invest time and energy in building industry contacts and networking that can lead to the next job through timely and genuine career opportunities and word-of-mouth recommendations. 

Of paramount importance are physical stamina and endurance, without which Stagehands cannot carry out the heavy lifting and carrying that constitutes the better part of their job.

Employers often emphasise a Stagehand's soft skills, including communication ability, computer proficiency, and manual dexterity.

Current Scenario

The employment outlook of a particular profession may be impacted by diverse factors, such as the time of year (for seasonal jobs), location, employment turnover (when people leave current positions), occupational growth (when new roles are created), size of the occupation and industry-specific trends and events that affect overall employment.

As musicals and other live performances gain popularity, and theatres and performance groups strive to improve their facilities and equipment, there is likely to be a higher-than-average demand for competent Stagehands. 

Potential Pros & Cons of Freelancing vs Full-Time Employment

Freelancing Stagehands have more flexible work schedules and locations. They fully own the business and can select their projects and clients. However, they experience inconsistent work and cash flow, which means more responsibility, effort and risk.

On the other hand, full-time Stagehands have company-sponsored health benefits, insurance and retirement plans. They have job security with a fixed, reliable source of income and guidance from their bosses. Yet, they may experience boredom due to a lack of flexibility, ownership and variety.

When deciding between freelancing or being a full-time employee, consider the pros and cons to see what works best for you.

The Rise of Drones

Enterprising Stagehands will make the most of the increasing use of drones in the entertainment industry to create distinct and exceptional visuals not experienced earlier. Those who learn to operate them safely and efficiently within industry-specific legal frameworks will have the edge over their peers.

Collaboration is Key

Production companies are leaning towards stagehands who can collaborate with other team members remotely and guarantee time- and cost-efficient productions.

A Global Melting Pot

Growing diversity in the entertainment industry paves the way for cosmopolitan Stagehands who freely embrace the ideals of multiculturalism.

Shades of Difference

Stagehands in union theatres and studios may use different names based on their job responsibilities. Nonunion workplaces may witness a more significant overlap in tasks.

Prop Stagehands make sure requisite props ( personal, hand, and set stage property), such as eyeglasses, books, and furniture, are located, obtained, placed in a scene, and collected and stored when they are no longer needed.

Grips in the film and television world move equipment and set up, paint/decorate, dismantle, store, or prepare scenery or set pieces for return to the supplier. Flyers in theatres hand the scenery up into the roof, lower it down on the stage, and assist in setting up, checking, and putting away the sound and lighting equipment.

Skills to be Cultivated

Since this career primarily focuses on practical experience, successfully demonstrating specific skills is crucial. Technical skills include knowledge of lighting, sound, and video equipment. Communication skills facilitate professional interaction with directors, producers, actors, and other Stagehands.

Physical stamina is essential to lift and carry heavy objects for extended periods. Attention to detail, physical agility, and adherence to health and safety requirements guarantee all equipment and props are well taken care of and serve their intended purpose optimally.

Collaboration, resiliency, positivity, time management, and creativity in ideating solutions to issues that may arise pre-and post-production will guarantee success and job satisfaction.

A bare bulb known as ‘the ghost light’ is believed to remain burning on stage after the theatre closes for the evening, so the ghosts who inhabit it have some light to perform by.

It requires a keen interest in the performing arts and a strong work ethic to devote energy and time to being a skilled Stagehand, ready to do whatever it takes to help create a spectacle that leaves the audience bedazzled.

“All the world’s a stage.”

- William Shakespeare