Stagehands, or stage technicians work on film and TV sets, and at the theatre and concerts. They help ready the stage before a performance.

ANZSCO ID: 5999

Alternative names: Backstage Crew,
  

Knowledge, skills and attributes      

To become a stagehand, you would need:

• to enjoy live performance

• a high level of fitness

• good teamwork skills

• to work well under pressure

• a knowledge of health and safety regulations

• good practical and technical skills

• the ability to work at heights.     

A stagehand, Dave Fulton, checking the harness of a Spider-Man, Christopher Tierney, at the Foxwoods Theater on Broadway.
Credit...Sara Krulwich/The New York Times

 

Duties and Tasks

As a stagehand, you would:

• driving, loading and unloading vans, trailers and tour buses.

• acting as security for equipment and band members.

• setting up and looking after sound equipment, sometimes using specialist equipment like cherry-pickers to install lights on towers and scaffolding.

• setting up video equipment and screens, setting up visual displays, including large screens and computer/live film feeds and video links.

• rigging up electrical wiring and lighting.

• setting up pyrotechnics (fireworks) and laser displays

• conducting sound level checks.

• lifting and carrying equipment and sets, often using fork lift trucks.

• tuning and maintaining instruments before and during the show.unload and set up equipment before a performance

• take down and store equipment at the end of a performance

• be at rehearsals to familiarise yourself with scene changes, set dressing and props

• move equipment, props or scenery during a performance

• operate automated stage machinery

• open and close theatre curtains

• clear the stage and backstage areas at the end of the production.

Working conditions

As a stagehand you would work long hours. You would attend rehearsals or practices, and be there at the performance. You would work late nights, weekends and holidays depending on the type of performance or show.

You may tour with a show or work at one venue. The role can be physically demanding and may involve working at heights.

 

Education and training/entrance requirements

No formal qualifications are required to work as a stagehand. You would get some training on the job. A VET qualification in live production and services, live production and technical services or a related field may improve your chances of a role in this occupation.

You could also become a stagehand through a traineeship in Live Production and Services or Live Production and Technical Services. Generally employers require a junior secondary school certificate or equivalent.

Employment Opportunities

In particular, stagehands who work in small- and medium-sized theatres may see even slower job growth because many of those theatres have difficulty finding funding.

Timothy Forestiere, left, and Tyler S. Miller dismantling a “Ring” set at the Metropolitan Opera.
Credit...Suzanne DeChillo/The New York Times

Roadie/production crew members transport, set up and dismantle equipment for live shows, music concerts and outdoor performances.

Roadies, known also as backstage crew and sound or lighting technicians, play an essential part in staging live music concerts, theatre productions; festivals and events. Usually highly skilled technical specialists, they set up all the equipment that artists and performers need, including the sound and lighting equipment, musical instruments and special effects. During performances, the crew is on hand to respond to any technical and equipment issues that arise, before packing away and securing equipment when the show finishes. The size of the backstage crew will depend on the standing of the band/artist and the scale of a performance and venue. Some work alone doing varied tasks, whilst others perform very specialist crew duties. Roadies help stage music concerts, setting up before the show, looking after instruments and packing away afterwards.

The role involves working alongside many different people, including: Sound engineers; Stage, lighting and sound designers; Health and safety specialists; Security personnel; Artists, performers and their management teams

Roadies may also be given specific duties, such as making travel arrangements, organising catering and refreshments for backstage crew and artists, and co-ordinating backstage passes.

ANZSCO ID: 5999

Alternative names: Sound Technician, Lighting Technician, Event Technicians, Production Technicians, Production Crew Member; Technical support staff, technical support crew, road crew, Stage Technician,

Specialisations: Roadies, Event Technicians’ or ‘Production Technicians’ can be broken down into job descriptions such as Guitar Tech, Lighting Engineer, Sound Engineer, Front of House, and, Monitors.

  
Knowledge, skills and attributes     

To become a roadie or production crew member, you would need:

• physical stamina and fitness

• practical and manual skills

• the ability to work well as part of a team

• a good head for heights

• an understanding of electronics and technology

• an ear for music

• calmness under pressure.      

 

(Source: Careers in Music)

 

Duties and Tasks

As a roadie or production crew member, you would:

• help transport equipment and cast members between shows

• unload and reload equipment from transportation

• set up sound and lighting equipment and rigging

• assist with cabling of equipment

• act as security for band members and equipment

• set up video screens or special effects.

Working conditions

You could work from a vehicle, at a sports arena, theatre or at a music venue.

Your working environment may be noisy, cramped, at height, you may spend nights away from home and physically demanding.
Working as a roadie, can be very physically demanding and pressured, as sets must be put up and dismantled quickly and safely within set times. As a roadie you would work long hours, including on weekends and holidays but may have time off between tours or gigs. You would spend a lot of time travelling nationally or internationally, whilst touring with a band or production. You may be required to spend long hours driving and would require a driving licence.

The role is physically demanding, and you would spend much of your time dealing with heavy equipment. You may be required to work at heights on rigging or scaffolds.

Roadies need a flexible attitude to working hours. On tour they work long hours, often finishing in the early hours of the morning. Weekend work is normal. It is usual to work seven consecutive days perhaps for several weeks when on tour, and the job often involves travelling long distances between venues. However, there are rest days between gigs, and there can be long breaks between tours.

Most roadies work on short-term contracts, typically lasting around three months. Most roadies are self-employed.

Venues they might work in include indoor and outdoor concert arenas, clubs, theatres, sports arenas and stately homes or parks. Touring would involve travelling around the whole of Australia, possibly overseas. The job often requires staying away from home for long periods, sometimes sleeping in the tour bus.

Heavy lifting, bending, climbing, and working in cramped, noisy conditions is typical. Some may be required to work at heights.

Education and training/entrance requirements

No formal qualifications are required to work as a roadie or production crew member. You would get some training on the job. Your employment prospects may be improved if you have a VET qualification in technical production or live production and technical services. It may be an advantage to have some experience in electronics, sound production, music technology or lighting. Taking a theatre course in stage management, stage lighting and sound engineering may also help roadies who want to specialise. Although not essential for entry, they certainly make candidates more employable.

You may also become a roadie or production crew member through a traineeship in Technical Production or Live Production and Technical Services. Generally, employers require a junior secondary school certificate or equivalent.

Alternatively, the creative apprenticeship in technical theatre or music (live events and promotion) focuses on introducing people to working backstage in theatre or live music events settings. This would teach you some of the skills needed for the job. You could then try to find a trainee job with an events company. Some employers may prefer you to have experience of live events.

Short courses are available in subjects like rigging, health and safety, lighting installation, working at heights, operating lifting equipment and pyrotechnics.

In some states, an electrical licence may be required. To work as a roadie, it may also be necessary to hold a licence to Perform High Risk Work, to have completed Working at Heights training or undertake an Induction for Construction Work.

(Source: Conversations of Change)

 

Employment Opportunities

Employment opportunities for roadies or production crew members is projected to grow slower than the average for all occupations.

Some job growth is expected from the growth in outdoor concerts and performances. However, this is likely to be offset by the difficulties in attracting funding for live performances generally.

You would often start by working for free for local bands – many people get their first paid job through making contacts in this way. You can also get relevant experience through things like:
working backstage in college or amateur theatre productions; casual work at local concert venues, gigs or festivals; working for equipment hire and supply companies.
  
Getting some practical backstage work experience, even at local theatre productions, can be a great way to network and gain contacts. Individual artists and bands, tour managers, equipment hire companies and large venues may hire local crew for one-off gigs or tours. More local crew opportunities exist in cities and large towns where there are more live entertainment venues. Music promoters usually recruit touring crews. Touring roadies will usually be offered a contract for a set duration and will accompany the artist or band on tour in Australia and overseas. There is always strong competition for vacancies. Working on short-term contracts means that many roadies are likely to face periods of unemployment. Above all, word of mouth, personal recommendations and reputation help secure work.

Taking a first aid certificate is also advisable.

Roadie at work
(Source: Wall Street Journal)

Roadies mostly learn on the job alongside experienced crew. This practical training may be complemented by short training courses and technical qualifications in areas such as:

- Rigging
- Lighting
- Pyrotechnics
- Video work
- Operating a fork lift truck or cherry-picker
- Health and safety working at heights.
Crew travelling overseas need a passport. It can be useful to speak a second language. A full driving licence is helpful and a large goods vehicle (LGV) licence or passenger service vehicle (PSV) licence an advantage for roadies wanting to drive tour buses and lorries.
With experience, you could become a road or tour manager, or move into band management or music promotion.

With further technical skills, you could move into lighting or sound for theatre, film or television.

Did You Know? Tana Douglas is known as the first woman roadie Tana Douglas spent her childhood moving from place to place across Australia. She left her dysfunctional family in her mid-teens to go to a rock festival and never looked back. She became a roadie at the age of 17, working in clubs where she was too young to legally drink. In 1975 she was offered a job with an up and coming band called AC/DC, so she moved into a share house with the band in St. Kilda. The experience began her working life as a roadie for the world's biggest musical acts. Listen to "Conversations with Richard Fidler" - 1 March 2022 - 45mins 32secs Tana Douglas - Roadie CAMEO Part 2 - 2 March 2022 - 49mins 5secs After touring with AC/DC, Tana Douglas moved to the UK, where she was invited to join Iggy Pop’s insane, drug-fueled European tour. At Windsor Castle, she stage managed a special performance by Elton John for the Royal Family. Later she engineered The Who’s triumphant return to Wembley Stadium.

Theatre mechanists prepare and put together sets for live performances, theatre, opera, musical concerts and dance performances. 'Flymen' operate the flying system in venues with this equipment. This may be a counterweight or power-flying system which relieves a significant amount of strain on the technician, but historically, flying systems were operated by teams of men using ropes made of hemp.

Mechanists operate the systems used for moving the set such as revolves, lifts and trucks (any set on wheels).


ANZSCO ID:  5999 

Alternative names: Theatrical technician, Head Technician, Fly Supervisor, MX,
   

Specialisations: 'Flyperson'
  

Knowledge, skills and attributes       

• enjoy manual work

• able to use a variety of tools

• experience in technical field of theatre, including but not limited to lighting, sounds, fly, automation or mechanist

• able to cope with the physical demands of the job

• enjoy working with people in a team environment  

• affable nature and customer service attitude 

• ensure full and open communication at all times 

• respect, and at all times apply standards and regulations regarding work health and safety

• exceptional time management and ability to multi task

• a positive ‘can do’ attitude and desire to make a difference within the organisation

• ability to work proactively and flexibly within not only your immediate team but also within other theatre environments

• respect and apply internal policies and procedures to maintain a healthy, respectful, ethical and professional work environment

Did You Know? James Tucker at Southbank Theatre Melbourne James Tucker loves the moments in a performance where you can almost hear the audience gasp "how is that possible?" As the Fly Supervisor at Southbank Theatre, he’s part of a team that makes it possible. When a set piece descends from above the stage, or a backdrop flies up and out of sight to reveal a new scenic world behind it, there’s at least one person working behind-the-scenes. In fact, the curtain wouldn’t rise at all without a fly supervisor. Above the Sumner stage is a 20-metre void called the fly tower. At its apex are 50+ fly bars, to which lighting and scenery can be attached and ‘flown’ into view. Most theatres with a fly tower have ropes running down a wall side-of-stage in what’s called a counterweight system. However, the Sumner has a state-of-the-art Power Fly System, where motorised winches can be programmed and operated by a computer. This computer, called a Nomad, controls all the fly bars’ motion, and cues can be put into a sequence for easy and reliable playback. This system enables designers to be more adventurous, and also has many safety features. THE FLY FLOOR   Visitors backstage may be surprised to find that Tucker is not standing on the off-prompt side of the stage deck. Instead, he’s 10 metres above it, halfway up the fly tower on what’s called the Fly Floor. ‘The Fly Floor is located halfway in the tower space so that there is a clear view of the space 10 meters below and 10 meters above,’ explains Tucker. ‘It is essential to have a clear view of all the flown elements from stage level to 20 meters out. If you are on the stage and flying you would be looking up into darkness and the blinding lights of the LX rig.’ The Gloria set seen from the Fly Floor Photo: Brett Boardman AMBITIOUS SHOWS When asked which Melbourne Theatre Company [MTC] production has had the most complicated flying demands, Tucker says it’s hard to pick. ‘There have been many,’ he reflects, ‘Macbeth, Richard III, Twelfth Night, Queen Lear, Gloria, Vivid White, Wild…’ The list goes on, indicative of the ambition and achievement of MTC staff and artists. The Company’s 2017 production of Macbeth included 27 scene transitions and 34 fly cues, while Gloria in 2018 saw the set entirely transform from a replica Starbucks to a film studio’s office in 97 seconds of theatre magic. ‘Those big and quick transitions are what is most memorable’ says Tucker. ‘The House Curtain comes in and two or three minutes later it goes out and reveals a completely different scene where you can almost hear the audience gasp “how is that possible?”. Wild was such a transition with the whole stage tilting about 60 degrees, ceilings flying up, beds and hotel furniture disappearing into the walls.’ SAFETY FIRST   Productions with complex flying sequences such as these are not without their hazards. Did you know that it’s considered bad luck to whistle in a theatre? In theatres with counterweight systems, fly operators (historically off-duty sailors whose experience rigging sails brought skill with knots and ropes) used to communicate with each other by whistling. Whistling backstage was therefore banned, lest you accidentally trigger a fly cue. While this superstition may still exist with some older crew there are now more modern methods that add to the safety protocols. For example, Tucker explains that bars can be grouped together in a way that if one fails the others will stop. ‘This safety feature is essential for group lifts such as ceilings or multi-point trusses.’ ‘THOSE BIG AND QUICK TRANSITIONS ARE WHAT IS MOST MEMORABLE. THE HOUSE CURTAIN COMES IN AND TWO OR THREE MINUTES LATER IT GOES OUT AND REVEALS A COMPLETELY DIFFERENT SCENE.’ – JAMES TUCKER Impressively, variables like speed, acceleration, deceleration, time commands and destination can all be programmed to have millimetre and microsecond accuracy that can be used to create transitions that synchronise perfectly with sound, lighting and automation cues. ‘Delays and triggers (where one axis causes another axis or axes to stop, start, pause, resume, speed up or slow down based on the triggering axis’ position) can be daisy chained in almost unlimited sequences to create very complex fly cues and transitions. Christie Whelan Browne, Lachlan Woods, Russell Dykstra and Colin Hay in Twelfth Night. Photo: Jeff Busby BUMP-IN   In the days before the first audience take their seats, the theatre is a flurry of activity as the set, lighting and sound equipment arrive during bump-in. As Fly Supervisor, Tucker is an integral part of a team that installs the flown elements. ‘They’re assessed for weight and how best to attach each to the fly bar to ensure a balanced load that is within the lifting capacity of the system,’ explains Tucker. ‘The integrity and working load limit of the attachment points and lifting equipment is inspected by the Head Mechanist. The load is levelled to ensure a uniform distribution of the load across the fly bar.’ Tucker then makes sure there is enough clearance to fly the flown element past other flown pieces. The importance of the MX (mechanist) and Stage Management crew can never be underestimated once the production is in operation. They are often the eyes of the Fly Supervisor, giving clearances, and responsible for starting and stopping cues, much like a ‘dogman’ is to a crane driver . TIME FLIES   Since Southbank Theatre opened in 2009, Tucker has flown countless pieces of scenery across hundreds of performances. His favourite memory, however, remains this theatre’s opening Gala Performance. ‘It was such a relief and sense of achievement to see the system up and running after having spent 18 months working on the theatre’s construction and the installation of the fly system,’ reflects Tucker. It’s an astonishing journey, one that makes you wonder: how is that possible? (Source: MTC)

 

Duties and Tasks

Theatre mechanists may perform the following tasks:

• support the Head Stagehand in recruiting new staff according to technical needs

• receive, plan, and organize work and tasks distributed by the Head Stagehand

• oversee the smooth running of set-up and take-down for events, activities, and shows according to the schedule drafted by the Head Stagehand

• be in charge of inventory, warehousing, and annual or routine maintenance of departmental equipment

• inform the Technical Director of any lacking stage equipment

• load and unload scenery

• build and set up stage scenery and suspended scenery (or 'flown' scenery)

• determine the best method for storage and setting of scenery in performances

• run the scenery movements in a performance

• assist with production bump in and bump outs

• respond to hirers technical requests and needs in a timely and positive manner

• ensure that the theatre is repaired, maintained and presented to the highest standard

• conduct daily theatre checks and rectify any faults and issues found

• record utility meter readings each Sunday night and at the end of Bump Outs

• operate air conditioning as required during performances

• supervise technical suppliers and service contractors working in the theatre

• comply with the theatre's WHS Policy and Procedures

• act as Chief Warden in the event of an emergency

• always be helpful and articulate with the hirer and their staff

• present in a professional manner

• assist other theatre departments as required

• be present during production hours to oversee and assist with production

• operate the mechanical components of the stage including trap doors, lifting equipment and movable scenery

• carry out maintenance and repairs of stage scenery

Working conditions

Theatre mechanists work as part of a small team. Working hours are irregular and may include long shifts, nights and weekends.

Experienced mechanists may be employed as theatre 'flypersons', whose work involves operating the flying systems which control flown scenery.

 

Education and training/entrance requirements

You can work as a theatre mechanist without formal qualifications. You will probably get some informal training on the job. Entry to this occupation may be improved if you have qualifications.

You may like to consider a VOC qualification in live production and services, live production and technical services or a related field. As subjects and prerequisites can vary between institutions, you should contact your chosen institution for further information.

You can also become a theatre mechanist through a traineeship in Live Production and Services or Live Production and Technical Services.

Entry requirements may vary, but employers generally require Year 10. Once you are employed, you may be able to develop, and have recognised, additional skills under the Live Performance and Entertainment Training Package that will expand your career opportunities within this industry.
  

Employment Opportunities

Theatre mechanists are employed by theatres and other performance venues. Occasionally, a producer will employ a head mechanist to tour with a major production. Most employment is casual, although it is usual to be employed for extended periods such as the run of a play. Some major entertainment centres employ permanent mechanists, but these positions are rare.

Opportunities in this very competitive industry are mainly found in the major centres of entertainment production, such as Melbourne and Sydney, or overseas.

 

Related Jobs or Working with these Jobs

Actor	Architect Architectural Draftsperson	Carpenter	Choreographer
Cleaner	Director	Entertainer	Fabrication Engineering Tradesperson
Forklift Operator	Industrial Designer	Joiner	Musician Guitar Technician
Photographer	Prop & Scenery Maker	Theatrical Costume Designer	Visual Merchandiser

 

Materials sourced from
NIDA;
Visabureau;
Mandy;
Music Career;
Good Universities Guide Australia [Stage Manager; Theatre Mechanist; ]
National Theatre School of Canada [Head Mechanist; ]
Stage Management Association UK
Careers in Music [Stagehands; ]
Web Archive Only - CareerHQ [Stagehand; ]
CareersOnline [Theatre Mechanist; Production Crew Member; ]
National Career Service UK [Roadie; ]
Input Youth UK [Roadie; ]
Theatre Trust UK [Theatre Mechanist; ]
Sydney Lyric [Head Technician; ]
My World of Work UK [Roadie']
Your Career [Stage Manager; ]

Photocredit: Mick Jagger - How Stuff Works