Proud to announce my new job

EvanR wrote: That's the general answer - each situation is different. Curtis may fill you in on his particular position.

Pretty much spot on. Every theater is different in hierarchy, but this is spot on.

Our theater is non-profit, so it follows a more consolidated model. There is an executive board primarily comprised of local theater enthusiasts who are involved in the community. Under the board is an Executive director who doubles as artistic director. Larger theaters typically have two people; executive director is more of a business position, artistic director chooses shows for the season, oversees all of the department directors.

So my job as TD is to take all of the designs from the set designer, lighting designer, sound designer, and the director of the show, and make them reality. In a hardcore union house, that would mean I get detailed blueprints and I build it to their spec. Much like a contractor gets blueprints for a house and they build it exactly to spec. This house is more like Amish home building. Its more like, here is a drawing of what I want and it needs to be W x L x H so make it happen in your own way.

The primary thrust of my job will be set construction since it is the most time consuming. Then, as the show gets to about 2 weeks before opening, the sets should be done so the cast and crew can rehearse with them and artists/painters can make them pretty. I then move on to rigging and lighting. The lighting designer will give me light plots with what kind of lighting instruments need to be placed on the light bars and what color gels go in each one. Then I take his circuit list and match it up with the house circuit list so he can program the board. He needs to know that the light that is known as A14 in his plot is plugged into circuit 2132-G in the theater. Rigging is taking what needs to be flown in and out and cabling it properly.

In this theater, most of the sound production is hired out. Normally I would be responsible for the same plotting and setup of sound as the lighting side of things, but we usually have a guy come in and do his own thing. Sound is a much easier thing to set up and sound techs are usually pretty picky about how things are set up.

Other responsibilities include general facility maintenance; repair lighting instruments, circuits, sound equipment, etc. In our house, TD is the only real house position. Individual show directors, set designers, costumers, music directors, and sound techs are hired per show. We have four or five directors that cycle through, each with their own strengths; musicals, shakespeare, dramas.

Aside from the TD position, the Executive director is the only full time position. Some of the other positions are paid, but just per show. Acting and music are entirely volunteer.

Makes me feel warm and fuzzy.

In reply to EvanR:

True. I think the position varies depending on the theater. Where I worked, the TD had nothing to do with the show once the set was loaded onto the stage. The GSM took over from there and the TD went back to the shop to start work on the next set.

I loved that work, but it really was like taking a vow of poverty. At least with a limited-union theater (some actors were union, but none of the support staff). The pay was low even for a high school kid working part time.

JohnRW1621 wrote:

curtis73 wrote: Finally a job that pays me to do what I love.

Is this a job where you get paid to eat Cheetoos and watch porn all day? Or, is that just me and my vision of the dream job? Congrats if it is!

No, but I get my own office with a beer fridge. Cheetos optional.

Ian F wrote: In reply to EvanR: True. I think the position varies depending on the theater. Where I worked, the TD had nothing to do with the show once the set was loaded onto the stage. The GSM took over from there and the TD went back to the shop to start work on the next set. I loved that work, but it really was like taking a vow of poverty. At least with a limited-union theater (some actors were union, but none of the support staff). The pay was low even for a high school kid working part time.

Pay isn't too bad here. Above poverty level anyway. But the schedule is sweet. As long as I get everything done, I can work when I want. In between shows I can take a trip. Need to have a doctor's appt at noon? Just come in at 2. This theater (because it is volunteer talent) takes a while to put a show together. Rehearsals have to take into account that the talent has 40-hour jobs or they are in school. Our next show isn't until February and its a small set, so I have plenty of time to knock out stuff.

One of the best things about being a TD for this theater is that you are mostly left to your work. No time clock, no micromanaging, just do your job and do it well.

curtis73 wrote: One of the best things about being a TD for this theater is that you are mostly left to your work. No time clock, no micromanaging, just do your job and do it well.

I envy you that.. last Monday I had an hour and a half to turn the theatre in the Borgata (really a big multipurpose room with a stage) from a business presentation to a full décor party.. I should have 2 and a half hours, but they ran -way- over on the presentation, leaving me almost no time to pinspot the 40 tables, focus lights on the bars and buffets, and take care of the talent on the stage.. I did it in an hour and 35 minutes (I was 5 over)

You know what? I really miss the world of low-pay theatre. Here in corporate showbiz, it's a whole lot less fun than it was in my early years.

My showroom doesn't even have a TD. There is no "next show" to plan and prep for. We're 7+ years into a 10-year run. When that's over, the theatre will be gutted and a whole new staff hired to produce whatever comes next.

We have something called an Operations Production Manager. He does some of the things a TD would do, like overseeing the technical departments, but each department runs fairly well on its own, so not much oversight is needed. The OPM is primarily responsible for dealing with money/budget issues, which are a whole other deal in the world of 10-year production shows.

I gave up all the fun of working in a small theatre for the stability of a big showroom. At my age, things like steady hours, health benefits, and a pension become more important to me than having fun. It really does become a drone job, producing the same show night after night, 377 times a year.

But I still find my moments of fun and challenge.

same here, Evan. I won't mention what I make because it makes people uncomfortable to see how much an hour I make professionally.. but I do miss the lack of stress in low pay theatre. I doubt I would have high blood pressure if I had stayed there..

I haven't actually sat down to negotiate pay yet, but a range of numbers has been thrown around. Up until now my involvement with that theater has been volunteer and I was able to really wow them with this last production. They basically created the position by firing a guy to put me in.

I don't mind discussing it; the numbers being tossed around are between $30-35k, and that includes a couple months off in the summer when they don't have any shows. That is more money than I'm getting now sitting in front of the TV watching Ellen and Dr Who reruns.

mad_machine wrote: same here, Evan. I won't mention what I make because it makes people uncomfortable to see how much an hour I make professionally.

I've mentioned what I make in previous threads on this forum. It does make some people uncomfortable, but I'm not one of them. You have to realize you are getting paid for what you know, not what you do.

Not a lot of people do what we do. Not a lot of people know what we know. A producer can hire people for a lot less than I make - but they won't get someone of my caliber. The head of another department came to me yesterday and handed me a device I've never seen before and asked me if I could repair it. I never flinched. I took it apart, diagnosed the problem, and repaired it, all in under an hour. I get a lot of respect for doing things like that all around the showroom, and it helps me realize that I'm worth every penny they pay me (and sometimes more!)

well... working at the Borgata, the richest casino in Atlantic City, I make over twice what Curtis will be making at a TD.. and yes, my Supervisor has no qualms about throwing me anywhere to get anything done and does not have to worry about my screwing it up.

mad_machine wrote: well... working at the Borgata, the richest casino in Atlantic City, I make over twice what Curtis will be making at a TD.

Yup, but there's pretty much only ONE job in Technical Theatre where Curtis is. In AC, there's maybe 800 jobs. In Vegas, there are 2500 jobs.

With what Curtis knows, he could drive out here and be making $18/hr. within a week. In a few months he would be making $22. Way bigger numbers than that within a year.

But I don't blame him for staying where he is. Sounds like a nice place to live, which Vegas is not. In about 10 years, I hope to be semi-retired and doing what he's about to start doing.

it's also cheaper where Curtis lives than where I live... I have relatives outside of Reading.. I pay a -lot- more in taxes alone than what they do.. and my little rancher is cost more than their huge split level.

making less, but living in a cheaper area, is a win.. especially when you are doing what you love

Carlisle and Harrisburg are relatively cheap. I wouldn't say I love it here, but this is a primo job that fell into my lap. I may use this experience to move to a bigger/better area at some point, but I'll ride this wave as long as it curls.

Carlisle is actually stupid expensive for the area. If you find a house for under $150k, its either a tear-down or a double wide. Harrisburg has lots of fixer-uppers with good bones for $50-60k. Outlying counties have more proportional property prices. I lived cheaper in Austin TX than I can in Carlisle. Its a strange anomaly.

If I divide up my expected salary, it looks like about $18/hr right now. Of course, that is based on a 40 hour week. I'm sure some weeks I'll have 10 hours and others I'll have 100 or more.

Congrats! Having a job you actually like in a field you like is huge bonus. Mine was like that when I worked in television and video production. Alas I have moved on to more lucrative and stressful fields...I miss the old days and would almost take a pay cut to go back.

Enjoy!

Congratulations!

I was trained as a TD, and have done about 100 shows. It's my true passion, but life...

I miss it. A lot.

I have had the opportunity to use my skills in a few films recently, but I have had to turn down several offers for TD positions- just can't do the pay right now (supporting a family).

I'm a bit jealous- congrats again!

Wanna hear my warm fuzzy?

The board had approved my being TD and the Executive Director pushed hard for it, but there was no money in the budget.

A sponsor who saw the show was so impressed with the set that he/she volunteered a donation to cover my salary. Another one of our sponsors is Highmark Blue Shield and they threw in health coverage.

I can't believe I'm a salaried employee with benefits after just a month of putting screws in wood. I guess I'm good at screwing.

I feel a little odd for getting so much praise for simply executing another person's design, but I feel up to the task. Our show White Christmas is struck and the shop is clean ready to build The Laramie Project.

Here we go

The show must go on !

curtis73 wrote: Wanna hear my warm fuzzy...I guess I'm good at screwing.

We've read your stories...

EvanR wrote:

mad_machine wrote: well... working at the Borgata, the richest casino in Atlantic City, I make over twice what Curtis will be making at a TD.

Yup, but there's pretty much only ONE job in Technical Theatre where Curtis is.

I have learned there are actually a few, but none quite this big. There is Open Stage which is an incredibly small space in the basement of a parking garage, and also Gambit which is in an old church.

Next we are doing The Laramie Project which will be an easy build. Then we're doing The Velocity of Autumn (which I know nothing about). But in April we're doing Big Fish. It is one of the most technical shows I have ever seen. Massive sets with animatronic circus animals, a live-acted mermaid rising from a holographic river, a 16' wall of flowers with a holographic scrim... ... and the last time I was a full-on TD was 25 years ago. At least when I was just a tech/carpenter, it was someone else's job to spearhead this stuff.

So excited and a bit nervous

petegossett wrote:

curtis73 wrote: Wanna hear my warm fuzzy...I guess I'm good at screwing.

We've read your stories...

Nice to hear from another Penthouse Forum reader!

Congrats man, glad to hear you scored a job you enjoy!

Next time I come up that way to see my Sister, I will have to drop by

Congratulations Curtis. Glad things are going well for you as well.