The average concert goer’s experience usually occurs within a four hour time frame, starting with their arrival to the venue once doors open, and ending with the artistโs exit from the stage and the house lights turning back on. But for stagehands, or roadies as theyโre sometimes affectionately referred to, show days are a bit more complex. Bobby Kirwin, who works as a stagehand at The UC Theatre in Berkeley, illuminated this complexity for us here at The B-Side, before loading-in for Finnish metal band Children of Bodom, who would be performing later that night. With a large to-go cup of coffee in hand and a bright smile on his face, Bobby led me into The UC Theatreโs empty auditorium on a clear Sunday morning. Just outside, the bandโs truck arrived for load-in. While the bandโs roadies, who travel from city to city with artists, and other UC Theatre stagehands began to unload and set up equipment, Bobby sat down with me to give The B-Side a generous look into life as a stagehand. The B-Side: Can you give me an abridged version of an average workday as a stagehand? Bobby Kirwin: So itโs show day of some random show. Only 20 percent of the time are you a fan or really pumped for the show. The rest of the time youโre just like, โwhat the hell is this?โ It all happens very organically and itโs different for every show. But the basis is load-in [from the tour trucks], build the stage with direction from the tour managers, and then we patch cables and things like that. After load-in and setup we soundcheck, the show happens, and then load-out. And when the show is actually going on are you still around? Thereโs always a few people that have show call and they do a changeover in between artists. But sometimes, depending on the tour, like today, thereโs a bunch of metal bands and the tour might take care of most of the changeover. So itโs totally show by show. Stagehand work is a lot of waiting. We have this joke where if you ask someone what to do, they tell you, โhurry up and wait.โ You hear that a lot in the stagehand world and โstop thinking.โ Me even more [so] because Iโve only been doing this for about two years. And no one is going to take you seriously until youโve been doing this for like ten years. Itโs definitely an industry dominated by older people — which is whatโs special about The UC Theatre. With the internship program, there are a lot of younger people working here which makes it a totally different venue from anywhere else — according to our production manager, Matt Lawsky, who is also the production manager over at the Warfield and the Fillmore. Yeah and this isnโt a career that is commonly brought up as an option for what you can do after high school and with your life. How did you get involved? For me it was through The UC Theatre. I didnโt do the internship program though because I reached out too early. So I started as a Design intern and Robyn Bykofsky, the Education Director, had me help her put the workshops together and bring people in. After a few shows we were able to get some stagehand interns and I was able to be one of the first. Itโs really hard to get a job in production but the internship program helped me get my foot in the door. I learned everything here. Theyโre getting young people from diverse backgrounds and theyโre running this place successfully. Itโs awesome to see that. And for those younger people who want to get involved in production, what are some of the main skills you need to be a successful stagehand? Itโs a lot of simple things but when theyโre all added together they make it complicated. You have to be good at a lot of shit. You need to be able to take direction well and be flexible. And you have to be able to push and lift cases. A good thing to learn if you want to be a stagehand is electrician skills and maybe production design. You also just have to be intuitive and very aware. That kind of segues into my next question. What are common problems you run into on the job, and how do you deal with them? Depends on the size of the show. Different problems always arise. Maybe the power shuts off. Has that ever happened here? It happened once! Berkeley power is always shutting off. One time it was an hour before doors and the power went out and came back on two minutes before doors. Not a good moment. Things could break or things could fall and people could get hurt. Does that happen often? Equipment falling? Iโm specifically thinking about the whole thing that happened to Marilyn Manson. Oh no, never! That was terrifying. That shouldnโt have happened. We all watched that video a hundred times backstage that night. Thereโs a lot of heavy gear in this job, which is why we wear gloves and itโs industry standard that stagehands wear steel toed boots and have a tool belt. Whatโs been your favorite show that you worked as a stagehand for? Nicolas Jarr for two nights was definitely my best weekend here. I got to meet him too; he was doing laundry across the street. He recognized me and we got to talk about the venue and he was like, โYouโre super young. Everyone here is really young. Whatโs the deal?โ and I got to tell him about the internship program which was so sick. Also, Green Day was great. Thatโs like the biggest show weโve had here. And my last question is whatโs one thing you want audiences to know about stagehands? We do this for the audience. We want them to have an amazing experience and we go to the very extent that we can to make sure that nothing is wrong at all. I also come from an audience perspective. When I would go to shows I would always think about the production crew and be like, โWhy did that happen? Something went wrong.โ But now, being a stagehand, I know that weโre fine. The show is happening and if something goes wrong weโre here to fix it. Everything always works out. But thatโs a good question for Matt! [So, we went downstairs to Mattโs office and asked him the same question.] Itโs nice to meet you, Matt. Bobby mentioned you might have an interesting answer to a question I just asked him. Whatโs one thing you want audiences to know about stagehands? Matt Lawsky: Oh, Iโd never tell the audience anything. If the audience can hear me then Iโve already messed up, you know? [Laughs] Weโre just out here to sulk in corners and shadows, like vampires. Out of sight, out of mind. [After our brief chat with Matt, Bobby, and I headed out to the alleyway, where the stagehands were rolling in big cases of equipment into the back of the theatre.] So, is that the main thing you want audiences to know? To not worry about stagehands? No, thatโs not it. I mean, I want them to know that we do this for the audience. We want them to have an amazing experience and we go to the very extent that we can to make sure that nothing is wrong at all. Itโs rewarding for me because I know that the people coming in here are having an amazing time. Some people come to one show a year and itโs the best night of their year. Thatโs really special. And you donโt think about that until you get some of those older crowds. Theyโre just having hoot. Theyโre getting up there in age but theyโre still living life. And creating that kind of space for people is special. What stagehands do is build the environment that the audience and artist are going to experience. When youโre on stage after a set is built, you feel something. Thatโs why I keep doing this. Written and Photos by Rebekah Gonzalez Share this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on Tumblr (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Reddit (Opens in new window) One Response Tori Raddison January 3, 2020 I love how you said you need to be able to take directions and be flexible when you’re a stagehand. I can imagine how important that job is. Stagehands really help the show run smoothly. Reply Leave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Save my name, email, and website in this browser for the next time I comment. Currently you have JavaScript disabled. In order to post comments, please make sure JavaScript and Cookies are enabled, and reload the page. Click here for instructions on how to enable JavaScript in your browser. Δ
Tori Raddison January 3, 2020 I love how you said you need to be able to take directions and be flexible when you’re a stagehand. I can imagine how important that job is. Stagehands really help the show run smoothly. Reply