Theatre Design & Technology - Winter 2022 - 28
CODA
from Working
Backstage:
A Cultural History and Ethnography
of Technical Theatre Labor
BY CHRISTIN ESSIN
A
lthough I primarily conducted my research for
Working Backstage in New York City, I live in
Nashville, which is also home to a vibrant, commercial
entertainment economy, albeit dominated
by the music industry. Tennessee is a so-called
right-to-work state, and while Nashville's musicians' union
(AFM 257) holds power within the industry, IATSE Locals
46 (stagehands) and 915 (wardrobe professionals) hold
significantly less. In Nashville, backstage technicians piece
together paychecks from a variety of venues and events, including
convention work at the Music City Center and work
calls for the national tours of Broadway musicals visiting the
Tennessee Performing Arts Center. The city's local theatres
hire nonunion staff, and even the civic arts organizations like
the symphony and opera that hire union musicians staff their
events with nonunion crews, sometimes outsourced from
companies like Crew One, Live Nation, or Rhino Staging that
pay hourly rates significantly below union wages and offer
fewer, if any, benefits. As a result, the conditions of backstage
labor in my home city are decidedly different from what I
encountered in New York, and I found far fewer technicians
willing to share their experiences openly. Likewise, local producers,
especially the Tennessee Performing Arts Center,
were reluctant to grant me backstage access or respond
to questions about staffing; my credentials as a Vanderbilt
University professor ushered me through numerous stage
doors in New York but failed me in my own backyard.
Still, after each trip, I returned with a renewed desire to
apply what I had learned about the value, history, culture, and
ethics of backstage labor, if not in the professional venues of
my home city, then in my theatre department at Vanderbilt.
This inclination, however, is complicated by my position as a
Reprinted with permission of the University of Michigan Press. This Coda originally appeared in Christin Essin's Working Backstage: A Cultural History and Ethnography of Technical Theatre Labor (2021). While the
book was written pre-pandemic, Essin's thinking about issues surrounding theatrical labor were continued in her piece " Imagining Forward, " which appeared in the fall 2021 TD&T.
28 | THEATRE DESIGN & TECHNOLOGY | WINTER 2022
Theatre Design & Technology - Winter 2022
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2022
Contents
Theatre Design & Technology - Winter 2022 - Cover1
Theatre Design & Technology - Winter 2022 - Cover2
Theatre Design & Technology - Winter 2022 - Contents
Theatre Design & Technology - Winter 2022 - 2
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Theatre Design & Technology - Winter 2022 - Cover3
Theatre Design & Technology - Winter 2022 - Cover4
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com