# Input on Stagehand Classification/ Job Levels



## celtictechie (Aug 5, 2010)

Hello Control Booth,

I am currently working at local theater and the T.D. ask me for
some input on Stagehand Classification/ Job Levels and what the it would take to
get to each level of Classification. A E1 being the highest and and E3
being the lowest on the scale. Example being for an Electrician, what
would need to be classified as E3,E2, or E1. I could some input on all other
fields of being a stagehand also. That would include Audio, Carpentry, Props, Wardrobe, Etc.

James


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## theILLUMINATEDfrog (Aug 5, 2010)

In my opinion, all levels of lighting technicians should have the same skill sets and knowledge of electrical theory, safety protocols, equipment handling procedures, and production etiquette-- this is just a matter of safety and competency. Hours logged on set, formal education, and increasing levels of management and budgeting experience would be the best way to assign pay grades, etc.


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## derekleffew (Aug 5, 2010)

In an ideal world, perhaps, Ray. But when the rider for Lady Gaga's Monster Ball tour, with its 31 trucks, calls for 120 stagehands for the load-in, no one expects that every one of them will be trained in "electrical theory, safety protocols, equipment handling procedures, and production etiquette." The best one can hope for is that no one gets run over by a forklift, or gets injured in another way.

An L1 can read and execute a light plot with no (or minimal) input from the designer (but this depends on the quality of the light plot, doesn't it?). Ideally, an ETCP-Certified individual.

An L2 knows what all the parts are called and can follow a hang tape.

An L3 can push boxes to their proper locations; and when told, "Hang that light there, pointing US," can do it correctly. 

(I feel like I'm repeating myself. Let's hope this discussion stays more relevant than a similar one elsewhere.)


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## ruinexplorer (Aug 5, 2010)

James, are you looking for skill sets for just electricians, or separate lists for audio techs, carpenters, video, etc.?


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## josh88 (Aug 6, 2010)

sounds like they want classification for levels on each area, he just used lighting as the example. I've got a hard time classifying, because like Derek said, an ideal world is different, skill sets vary so much person to person. 

I've gotten used to taking the best possible and doing what I can to fill in the gaps myself, and train the person up. I know I have a ton of skills, but most are spread across the board. If we stick with the example, I can read and execute a light plot, and do most all of that stuff, I've been ME plenty of times as well as designer, yet I KNOW I'm seriously lacking in some areas, I'm not ECTP certified and I've still got lots to learn. I would say classifying depends on the work you're doing as well. Somebody with a major touring company at the top level would need to know a lot more, whereas average joe at local community theatre's top level likely doesn't need the same knowledge for the work they are doing. End ramble.


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## museav (Aug 6, 2010)

Are these positions for productions or for the theatre? A position as an employee in the theatre is often different than the classification for a role in a specific production. Since you reference "Job Levels" but then E1, E2, E3, etc. I'm not clear which you are addressing.

For example, the House Engineer may be A1 for most house productions but the A1 role may be assigned to someone else or be a role tour techs fill for other productions.


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## celtictechie (Aug 9, 2010)

Yes these positions are for a theater, we looking into simplify are call list when riders comes in it said it needs 120 stagehands will can break it down and give them crew members/ stagehands that have interest in so called areas. Aka Electrics, Audio, Box Pushers, Wardrobe, Props, and Carpentry. I want to know what you thoughts are on what you need to move up in all to a level 1 or a so crew chief in each area but also what you need move up from a box pushers to another specialty area. 

James


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## josh88 (Aug 9, 2010)

with that explanation I would say why not just ask people what they have done/what they have interest in. You now have the categories to sort everybody, once you know what they can do you can sort them by the experience and knowledge into your three groups. The best way for somebody to move from a box pusher to something else is to let them learn by doing it. Rather than trying to set standards based on the whole thing, set the standards based on the people you have available, obviously have a top tier of what you ideally want in someone like a crew head or an "expert" so that you can have somebody to guide the less knowledgeable and then set the standards by the people and skills you have there. so John knows how to do A, B, and C so he's in charge of carpentry or is the go to guy when we need to break off and lead groups. Sarah knows A and B so she'll be useful and can be the second level and Sam only knows how to hold a wrench but is interested in learning wiring so he'll work with the electrics crew. If any of that paragraph makes sense.


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## DuckJordan (Aug 9, 2010)

I guess it would it all come down on the employee managers decision the best person to qualify someone is the person who worked with them the most. While a set of conditions would be nice the problem with that is since theater is a fairly dynamic workplace its work force has to be similarily dynamic itself. This means that while they could be a box pusher for some cheap par cans, they could not be a box pusher for lets say a grandma console. Understandably, some people will move quicker than others but really it comes down who would you feel more comfortable with going into the back of a circuit breaker box and messing with the wires? someone who meets all the conditions or someone you have seen in action and does safe working habits. 

So while having someone on here telling you how to classify people really you have to look at what they have done and what they have done safely.


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## NickVon (Aug 10, 2010)

i'll follow the "electrics" line of thinking since I have familiarity with overhire at a local theatre. 

E1, (Assitant ME capable, small group crew heads) Able to Direct other crew members, able to read Light Plot, Intrument Schedual and direct others in the labor of loading in the hang.

E2, (Hanger/focuser/Circuiter) trained in Harness/fall arrest procedure. confident in being up in the Grid, or awkward lighting positions. Able to Hang, Focus, and Circut fixtures as directed.

E3, (Stage lvl mover) mans pull rope to get instruments,accesories, odds and ends to E2, E1's in grid positions. Able to focus simple positions (Taildowns from genie lift, FOH, Catwalk's, etc) Gel sorters and Framer's as directed by E1's

and Each high Positions should of course be able to do the jobs of the levels below.

If this is what you are thinking, reply and i can give some thoughts on other deparment break downs to perhaps.


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## ruinexplorer (Aug 10, 2010)

celtictechie said:


> Yes these positions are for a theater, we looking into simplify are call list when riders comes in it said it needs 120 stagehands will can break it down and give them crew members/ stagehands that have interest in so called areas. Aka Electrics, Audio, Box Pushers, Wardrobe, Props, and Carpentry. I want to know what you thoughts are on what you need to move up in all to a level 1 or a so crew chief in each area but also what you need move up from a box pushers to another specialty area.
> 
> James



I am assuming that by moving up a level, you are offering different pay grades per level. Since your crew will not advance in all areas of theater equally (they will somewhat specialize), then you have two choices: choose a pay grade based on experience in a specific duty area (they are going to always want to work the area that they get paid the most) or raise their pay to the next level even if all their skills do not match that skill level. 

Here's what I mean. If I have someone who could essentially be a ME, but can't put a nail in straight to save his life, then you can either choose to pay him the higher level for the jobs where he is a lead electrician, but lower pay when acting as a carpenter or choose to pay him a lower wage all the time until he brings up his carpentry skills.

When I was in charge of hiring technicians for productions, I created a dual pay scale and based my budget on splitting my crews between the two. I hired all technicians in at the lower pay scale and then offered them the ability to test into the higher pay scale. The test was for all areas. At the same time, my contact sheet was a spreadsheet that contained contact information, pay grade, and skill level proficiency in all areas. So, I coulnd't penalize someone's pay if they didn't know carpentry, but had tested into the higher payscale. If I wasn't going over budget, I would put them in a lesser position to help build their skills in that area and still pay their normal wage. That spreadsheet also contained areas that required specific training for my venue such as running the fly system, powered man-lift (Genie), and areas requiring fall protection. Those specific training areas wouldn't get you paid more, but made you more valuable and so I would end up hiring you more often.

Where I drew the line? They had to score a certain percent (80% IIRC) in most of the areas to be able to move up in pay grade. In other words, I would advance someone who passed in say Electrics, Audio, and Wardrobe, but didn't cut the mustard in Props and Carpentry (anyone could be a box pusher). These days, I'd probably add Video as well.


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## museav (Aug 10, 2010)

I guess that I was not clear, but what I was really addressing was the difference between "job" and "classification". House Engineer, Master Electrician, Master Carpenter, Head Rigger/Flyman and so on are often used as job titles for employees of venues where they are employees. But they may fill various operational roles on any particular production.

You mentioned riders so what they identify would seem to be a major factor. In many cases the groups coming in may just be looking for a number of bodies that can do basic things and keep from hurting anyone, they may not want to invest the time and effort to assign the local workers to tasks based on their interests. On the other hand, some riders I've seen were fairly specific on the qualifications and capabilities they expected for locally provided personnel.

Most touring groups that are requesting any significant manpower from you are probably going to be supplying their own lead role personnel such as their own A1, their own props master/mistress and so on. I would guess that most cases where your volunteers might serve in more advanced roles are local productions where you would be defining the roles involved and the related qualifications.

Unless someone has significant expertise and/or experience, I think the general assumption is that they will spend quite a bit of time pushing cases, coiling cables, etc. I would make that clear or you may have some quickly discouraged volunteers who said they wanted to be an E1 or whatever and aren't there after a couple of shows.


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## mixmaster (Aug 20, 2010)

celtictechie said:


> Hello Control Booth,
> 
> I am currently working at local theater and the T.D. ask me for
> some input on Stagehand Classification/ Job Levels and what the it would take to
> ...


 Often it's not just about skill sets but also responsibility. The 1 position is responsible for his whole department. a 2 position is responsible for an assigned part of that department, and a 3 position is responsible for getting the cables, cases, donuts and coffee to the right place on time.
In my experience in the Audio world:
A1: the head sound guy, responsible for making sure that the entire rig is up and running. Often times this is the FOH tech, or a systems person. This person usually advances shows and has final say over his department and how the rig works. There's only one on a show.
A2: Since the A1 can't be everywhere at all times, there may be 1 or more A2s on a show, responsible for their own projects as part of the whole. Often the monitor guy is an A2, or a systems tech in charge of wireless coordination, or patching the stage. A2s are skilled operators, maybe as much as the A1, but are primarily responsible for their part of the rig. They receive instruction from A1 and supervise a group of A3s to carry out their assigned tasks. Depending on their job, they may have to know software, RF theory, read a stage plot/input list, whatever.
A3: These are the guys who are pushing cases, laying cable, assembling mic stands and doing all the little stuff that needs to be done to get the rig functional. In my experience A3s are usually local crew. being able to read stageplots and maps helps but A3s typically work under the direct supervision of the A2
I've worked some shows where the line between A1 in FOH and A2 in monitor world gets pretty blurry, especially when it's just the two of them on the tour and they've done everything as a team for the last 3 months of the tour, but I've found that usually the guy with the most paperwork at the end of the day is usually the A1.


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