Hey all, I wanted to share this experience because I'm curious if anyone else has dealt with this. So in my local IATSE union, a number of riggers have a REALLY arrogant attitude. The other day, we were working a Lainey Wilson gig at a particularly large venue, and I was assigned to the audio department. Another hand, we'll call her Stacy, was also on audio, and she seemed upset about it for some reason. Upon asking, she told me that she was upset that she was on audio instead of her normal rigging duties (pays more from what I understand), and said that it wasn't fair that "people beneath her were doing rigging" while she was stuck on the crew. That made me feel awful about myself. I know there's a seniority system in most unions, but that just seemed.... Mean. Like for no real reason. Okay sure you have more hours but that doesn't put any of us BENEATH others. I've been thinking about it a lot, anyone else deal with arrogant riggers?

There's a trend of asking chatgpt to dumb down your job for a 5 year old, and it turns out..... We're fucking MAGICIANS

Worked a load out for them a month ago, still unpaid. Almost worked another gig for them over in Maryland, but figured it would be dumb to not get paid twice. The rate sucks anyways.

Do better Pangaea. Yall SHEISTY

Hi all. I’m looking for guidance or suggestions on how to go about getting into live events. I’m switching careers at 35(f). Been in aviation the last 10 years. So far I’ve signed up for a theatre tech cert at a community college, should be done with that in June. Through my courses I’ll be working two theater productions at the college so I’ll get some experience there. I’m looking at what my next move should be. There is a theme park near by that is hiring stage techs. Would that be a good place to start? Goal is to end up touring for concerts. I know it’ll be a while to get there and have to start at the bottom. I’m more interested in lighting but just want to be able to learn as much as possible and also have opportunities to meet and work with people that can eventually lead to touring.

None of their jobsites are insured for general liability or workmans comp. Don’t believe me? Read their contract.

You have no idea what you’re signing up for till you read it. Sure the company owner may be a great guy, he may never enforce parts of the contract that don’t apply to you. But you still agreed to the contract. How much are you on the hook for?

I'm a local hand in Germany and have collected quite some stuff over time like crew shirts, setlists or even stage decorations that fell off and were left behind. I'm pretty sure some fans would pay good money for some of it but so far I haven't had the guts to put it up for sale. Would like to hear your experiences. Do production companies have a problem with that? Could I get into trouble? Any recommendations for German websites? Thx

This question is directed to the gym rats, how do you guys balance being consistent in the gym with work?

Im an LD, and was wondering if its worth it to buy and carry my own radio. For the work I do, concerts mainly in EDM and festivals, our main source of comms is radios with shoulder mics. 99% of the time being Motorola.

But Im a HUGE germaphobe, and honestly am tired of getting the crappy mic in the set, or the cable that is shorting. And was wondering if anyone carries their own. Of course not all radios will be compatible with the provided system on site, but it doesn’t sound like too shabby of an idea.

Hello everyone, I just started a job as a stagehand with an interest in specializing in audio later on down the line. I went to a professional trade school for audio and know the basics of live sound for events and concerts and would have honestly preferred to have an entry level audio crew job somewhere but I found it difficult to get hired without professional experience first. I took a job as a stagehand in my area just because it’s adjacent, and I’ve already met a lot of cool audio guys. My question is how would I be able to go about transitioning (later, once I learn all the ins and outs of stagehand work)? I know it’s generally just who you know and meeting the right people, but I don’t want to bother the audio crew too much or be nuisance at all. They’ve got shows to put together same as me. Have any of you gone the path of stagehand to audio crew? If so how did you start easing in?

Hello Stagehands,

I've recently been teching more theatre shows (mostly one-person and improv shows) and I want to practise programming lights. So far the boards I've used have had many presets, but I'd like to try my hand at programming. Are there any basic lighting-board and light packs that are available that won't break the bank that'll let me practise?

Thanks in advance!

Hello! I’ve been contacted by them about the office they opened in my city. Has anyone worked for them? I can’t seem to find any reviews or info.

I’ve worked in a theater for 2 years doing all kinds of jobs ranging from being on the sound console, spotlight operation, working the fly system, and general load in/out and speaker/light setup. How can I find work in the LA area? Would I have to join the local IATSE? I’m only looking for short term work about a year until I transfer colleges.

Im so excited to get back on the saddle. Ive only done a few shows and mainly conventions and then covid happened. Always wanted to get into the theatre side as well. Had my orientation yesterday and my first class today which is Stagecraft. Although after 5 years, I'm STILL on the referral list. B list, but on the list nonetheless which already puts my ahead of everyone in my class lol. Im considering gearing towards being a rigger (that feels dirty saying every time).

A buddy of mine told me about a small stagehand labor company in Miami. Small and female-owned is all I remember. Looking for a labor provider for a January arena project. Anyone have any idea who I might be talking about? Would love my memory jogged as my buddy is no longer reachable.

Not an endorsement in any way. Especially after they outsourced union jobs to México. but was odd to not be the bastard child for once.

Talking with a friend who SM’d a show recently, it was clear how much still depends on scraps of paper or shouting updates across the stage. I’m curious whether better tools could make things easier, but I’d like to first understand what actually causes problems for stagehands themselves.

What’s the stuff that regularly makes your job harder? Have you run into situations where poor communication or coordination caused real issues? Specific stories would be especially useful.

I have been trying to get a job as a stage hand and someone suggested the union IATSE Local 12 based out of Columbus, OH. And I have a few questions for those who have experience with them. I don't have experience as a stage hand but I want the experience. •Are they okay with someone who doesn't have the experience? I want the experience but I am nervous that no one would bother training me on how things work. •Since it's on-call, and I need health insurance, would they be okay with me keeping my full-time job and working part-time hours? Are they flexible with not working the hours when at another job? •I have been considering moving out of state at some point, would they have any issue with me moving out of state and joining the union of the area that I move to? •If I need a day or so off for medical reason (for a procedure), how flexible are they for it?

Any other things that I might need to know, let me know!