In order for the show to go on, many people must labor backstage and in the hall, out of the eye of the audience. Productions require a well-organized crew, and stagehands are the backbone of the music industry, moving large crates of equipment around, setting up stage sets or walls of amplifiers, and helping to unpack and pack up everything needed for the show while watching out for everyone’s safety.

Without stagehands, there could be no concerts or shows. They are usually the first to arrive and the last to leave. They work long hours and live by the mantra “the show must go on.”

Though stagehands are not visible to the audience, everyone in the production depends on them.

Stagehands are the unsung heroes of the entertainment industry.

Watch this documentary about stagehands at work on Broadway, from the 1950s.

I’ve always been fascinated by the stage and everything that goes into the production of a show. If you like the idea of working behind the scenes at live music and theater productions, read on to find out what it takes to have a career as a stagehand.

You will learn about what stagehands do, the skills needed, the different types of productions you might work on, what it’s like working behind the scenes, and how to find a job as a stagehand.

Working as a stagehand is also a good way to observe other specializations in the field and prepare to move into those roles (e.g., live-sound engineer, lighting designer, instrument tech, rigger, stage manager, crew chief, dispatcher, producer, etc.). Working as a stagehand, there are plenty of opportunities to learn new skills.

Stagehands work in a tightly coordinated team, or crew, typically directed by management professionals with titles such as: crew chief, stage manager, engineer, set designer, or tour manager. In the most general of terms, stagehands provide the labor required for unloading and loading gear, while supporting the technical needs of a show, concert, or a film or TV production during the setup and tear-down phases.

They support the specialists who run the show, including riggers, sound and lighting directors, instrument technicians, stage managers, and producers. Everyone on the crew has a special job to do.

There are people inside the trucks who load and unload (loaders) and others outside who move them from the end of the truck to where they need to go (pushers). Once all the gear is loaded into the venue, the crew unpacks and assists with the setup of the stage, trusses, sound, lights, booms, and other systems.

The stagehands work with the various specialists, producers, managers, techs, engineers, and system operators who supervise in the proper placement and installation of the equipment needed to run a show or film production.

Aside from moving gear and building the stage or set, they might assist with laying cables, placing microphones, unpacking instruments, and with setting up the sound, lighting, and video systems. They move and set up stage risers, move staging and gear to where it’s needed, help to unpack, and then stow away all the crates and cases, all the while watching out for the safety of everyone on the stage or set.

The job of a stagehand has an incredible variety of tasks that usually require some specialized training and knowledge. They might be expected to complete light carpentry or painting jobs, know how to wrap, unwrap, and store miles of cables, handle delicate musical instruments and other sound and lighting equipment, or troubleshoot electronic equipment.

Stagehands must be able to follow instructions while working in teams under pressure in a fast-paced environment. They are expected to think on their feet and sometimes need to find creative solutions to technical problems. They must be especially mindful of safety, as the stage has potential for danger and injury, and accidents can and do happen around stages and show rigging.

As you can see, stagehands do a LOT to make the show happen.

Watch this informative short video from the stagehands’ union about how to prepare for your first day on the job as a stagehand.

Probably the first requirements for being a stagehand is physical fitness and stamina. Standing up without sitting for long periods, lifting heavy objects, pushing large road cases, pulling on curtain ropes, climbing into rigging, unrolling, rolling, and gaffing cables, and moving quickly in tight spaces requires physical strength and endurance.

Mental focus and attention are also needed. It’s crucial to be able to follow instructions closely while keeping everyone safe in a potentially hazardous environment. Stagehands must maintain a sharp focus on safety to minimize danger and avoid hazardous situations for everyone.

Since technology is always changing, stagehands must also be able to learn new techniques and absorb new information quickly, and they must be able to carefully follow directions from supervisors.

A stagehand must have solid people skills and be able to deal with different personalities and egos. A stagehand should be a good problem solver, good with their hands, and be able to quickly offer creative solutions to unexpected problems.

Other useful skills include knowledge of specific sound systems, lighting, and staging, light carpentry or painting skills, knowledge of art, plus an awareness of crowd control and basic psychology and communications. Tact and diplomacy in communicating with others is sometimes important, as is managing emotions.

Other more specialized stagehand skills or knowledge might include placement of microphones, setting up an audio mixing board and amplifiers (or drums, keyboards, cameras, etc.), sound checking, troubleshooting, coiling and uncoiling cables (there is a special technique for this), and using gaffer tape (a black, wide, cloth-backed sticky tape) to secure cables and hide unsightly parts of the equipment.

Stagehands play an important role in making the show succeed, so they need a variety of skills useful in any show environment. They may need to operate equipment, such as a forklift or a winch, use different types of fasteners, open and close curtains, monitor or operate machinery, or use a hydraulic lift to raise and lower an orchestra pit.

With major concert acts, gigantic stages are moved in and out of arenas, sometimes in hours, and moving, setting up, and tearing down, packing, and loading requires well-trained crews familiar with both the hall requirements and the stage equipment itself. There are cranes, slings, booms, and other machines and systems designed to move everything into place.

Besides complex lighting systems, stage risers, overhead rigging, and speakers, there may be giant video screens and cameras to be positioned properly. All this happens on a very tight schedule.

One of the best-known companies that designs and produces giant stages around the world is Tait Towers. Their portfolio gives an idea of the scale of such major stage productions.

Since every hall and every stage will be designed differently, the stagehand must learn to quickly size up each task. While they may not always be the ones operating the equipment, they are indispensable to those who do so.

Stagehands typically start work in the early morning hours. When asked about what it takes to be a stagehand, they will often mention how important it is to show up early to a job. Of all the skills and characteristics required of a good stagehand, perhaps arriving early is one of the most important.

Most importantly, stagehands should be enthusiastic about live performance and be able to work well in a team under pressure. They should be able to follow instructions meticulously and think on their feet.

For stagehands, there are no two days the same. Every show, every venue, and every artist bring different challenges. No two halls are exactly the same.

I’ve never met a stagehand who seemed bored with their job. Stagehands love being around show business, and take pride in working hard to make the show happen, every time. It’s a rewarding job with the thrill of seeing performers and audiences enjoying themselves.

Some stagehands get to see the show from up-close in the wings, close to the action. Though they work long hours and may feel tired, they get energized from seeing the performance and the audience reactions. Almost nobody has a better place from which to watch the show unfold.

Here’s some things that might happen on a typical job:

The crew reports early, many hours before showtime. For an evening show, load-in, set up, and sound check all happen in the morning and afternoon. Depending on the needs, the crew might be on premises very early, or even in the days before.

The crew will have snacks available and have a catered lunch and dinner backstage, since it may be impossible to leave the premises to find food.

Early on, they gather in the green room and have a briefing from the stage manager or their direct supervisors on the day ahead. Everyone is assigned a station and tasks, and everyone knows the success of the show depends on them being where and doing what they are supposed to. Since things never seem to go exactly as planned, they must be constantly alert for changes and last-minute instructions from their supervisor.

The stagehands working the stage (stage crew) normally dress in black so that they aren’t visible from the audience during the show. The stagehand uniform is a black T-shirt, black jeans or slacks, black shoes, and socks. The stage manager watches over the entire stage area from beginning to end, including during the show, and instructs the crew as needed.

The stage manager is connected via intercom or walkie-talkie with the house (venue) manager, sound technician, lighting director (LD), and sometimes the producer, who keeps an eye on what the stage looks like from the audience. At times, such as during the show, there might be pauses in action from the crew, but they must be ready to spring into action the moment they are needed.

After the show finishes, the stagehands begin tearing down all the equipment. Everything must be put back in the correct place. There are cables to be coiled, microphones and mic stands to be put away, amplifiers and drums to be put into their cases, rigging or major props that need disassembling, and lots of other odds and ends.

The crew works together like a well-oiled machine to get everything ready to transport, put away and ready for the next use. When the day is done, it could be very late, and everyone high-fives each other as congratulations on another production finished.

It’s a great feeling of satisfaction in that moment when all the work is finished. It is time to go get some rest to be ready for another day.

Watch this brief documentary on women working as stagehands, produced by IATSE International Alliance of Theatrical Stage Employees, San Francisco Local 16.

Stagehands work on a variety of productions, ranging from small, medium, and large concerts to Broadway shows. They also work at conventions, rallies, amusement parks, and sporting events. There are some venues that employ stagehands on a regular basis, such as symphony halls, popular music venues, theaters, film and TV studios, cruise ships, and amusement parks.

Places like the House of Blues or Hard Rock Cafe and other large music clubs hire stagehands as permanent employees. Large convention centers often have staff for setting up and tearing down stages, and for setting up audio-visual equipment (AV), such as large screens and projectors.

Some stagehands work for equipment rental companies. After they deliver and set everything up at the venue, they stay for the duration of the event to make sure everything is working well. Then they tear it all down and put it away afterward.

Symphonies and theaters in the bigger cities will usually have stagehands on their payroll. So do sporting arenas, amusement parks, theme parks, and large venues operated by colleges and universities. Pretty much any place that regularly holds large gatherings needs hard-working stagehands to keep the shows moving.

There can be little time between events so the stagehands work day and night to turn the events around. When the attendees are safely back in their hotel rooms, the crews are still working to get the hall and equipment ready for the next event. It’s a demanding job.

Broadway and Off-Broadway shows rely on stagehands to help produce their shows and musicals. Most of the time, these stage workers are organized in a labor union (more on this below). Cruise ships offer live entertainment as do casinos and theme parks.

Many tourist attractions put on shows and rely on intrepid and ever-present stagehands. Finally, municipalities, especially cities and towns, and national and state parks often produce large scale events and festivals.

Watch a brief video of a time lapse showing stagehands using techniques, skills and gear to quickly set up a field hospitals for Covid-19 treatment during the pandemic.

According to the stagehands’ main union, the IATSE, when a call for a job comes in, a dispatcher “…has the challenging task of evaluating requests for workers, and determining the appropriate mix of skills for any given job.” The union has a list of skills and competencies that each worker is evaluated by.

On the job, the stagehands report to a crew chief who is familiar with the skills of each worker, based on the IATSE Policy Book evaluation methods. The crew chief works with the venue manager, stage manager, system engineers, and is tasked by the show producer, artist, or tour manager to make their vision come to life.

For live shows, the clock is always ticking in a countdown to showtime. Once the hall opens and the audience starts coming in, their job preparing the stage and hall must be finished. There is always the pressure of the clock, ticking down.

There is a high level of synchronization with all the hands working in concert (pun intended) to pull off a successful show. There isn’t always time to rehearse everything and sometimes there is extreme pressure to get things exactly right.

At some point, something always goes wrong and it’s up to everyone on the crew to pitch in and correct course. This means stagehands must keep a cool head and think creatively under pressure. It’s not always like this, but it does happen, so being ready for the unexpected is part of the job.

Working on a crew also involves some long hours, so it’s understandable that nerves can get frayed backstage. Most successful stagehands have a good sense of humor and know not to take themselves or others too seriously.

This doesn’t mean the work isn’t serious; it is. But there are stressful moments, where having a good laugh afterward can go a long way towards diffusing any tension that could linger after the anxious moments have passed.

Having a shared mission of producing the best show possible pulls the crew together in a cohesive team. Working well and getting along with the team, having a sense of humor, staying calm under pressure, and paying close attention to the tasks at hand are all desired and valued qualities.

Here’s a short video showing stage crews at work.

Many big-city venues employ stagehands that are part of a union, the largest one being the International Alliance of Theatrical Stage Employees, or IATSE, founded in 1893. The IATSE has a long and storied history of fighting to protect the rights of stagehands to improve their pay and working conditions.

While not everyone is a fan of unions (especially management, because of higher costs), there is no denying that for their members, they ensure better pay and benefits. They also provide training and other resources for entertainment industry workers.

IATSE also represents other categories of workers in show business besides stagehands, such as (from their website): front of house workers, wardrobe attendants, hair and makeup artists, motion picture and television production technicians, broadcast technicians, scenic artists, designers, animators, audiovisual technicians, and more.

A union can provide access to information and training that will help you get work.

Rumor has it that some stagehands at Carnegie Hall can earn incomes well into the six figures, though probably most do not earn that much. New York City is an expensive place to live, so it’s likely that stagehands who are part of the union there (IATSE Local 1) receive fair wages or better.

Watch this video for the full narrated history of the IATSE stagehands’ union since 1893.

Starting out as a stagehand does not typically require a college degree or special training or skills. It’s a great entry-level job for someone getting into the concert or theater business who wants to work hard.

Most stagehands will receive initial training for the job that could last anywhere from 3 weeks to several months. Stagehand jobs are posted to job boards and on company websites and you can sign up for a job agent online which will automatically send you notices of openings in your area from the boards.

If you are a student, you might be able to land a professional internship as a stagehand.

An even better way to get a job is to just hang around a venue and meet the people working there so you will get the first notice of any openings. Have a basic resume and cover letter and try to meet with the stage manager or venue manager to have an informal conversation.

There’s an old saying: if you hang around the barbershop, eventually you’ll get a haircut. Sometimes just being on the scene will get you first shot at an opening, maybe by filling in as a sub for someone who is sick.

Many job openings never get posted because there was someone waiting in the wings ready to work the minute there was an opening. Making friends with other stagehands is a good way to network as well.

Applying for stagehand jobs is no different than applying for any position. Be ready to talk about why you would be a good fit for the job, show positive enthusiasm, and make a professional impression with your clothes, handshake, eye contact, and attitude. Network with anyone in the music business, such as booking agents, promoters, stage crews, sound and lighting technicians, other stagehands, managers, and musicians.

To get experience, join up with a local band to assist with their live gigs. The best kind of learning is on-the-job, and it never hurts to have lots of friends in the business.

You could also apply directly to the companies that build and transport stages, or manage the tours. There are many businesses that employ stagehands, so if you want the job, make it your business to get on their radar and connect with the people there.

Watch this fun and entertaining musical tribute to stagehands.

The Stagehands (Career Guides) from NY Public Library, has interviews with stagehands and specialists on Broadway giving advice for people wanting to become stagehands.