Average LD salary

[gafftapegreenia]

According to the USA829 LORT rate schedule, minimum design fee per show varies from $2458-$5776 depending on the size of the company. It is unlikely that many, if any, are doing more than ten shows per year. See also the article from Live Design: You Can't Afford To Be A Lighting Designer.

Which is why I always have to chuckle whenever I meet one of my fresh-faced peers who so eagerly can't wait to tell the world how much they "just want to be a real Lighting Designer". However if I had a nickle for everyone one of those kids that can barely focus a light let alone create a light plot, I could afford to Design. They just don't know what they think they're getting themselves into. My TD, in the Freshman Stagecraft class, one of the first things he tells every class is "don't do theatre". I think he has a point. It's not just a job, it's a lifestyle choice. (Even had to explain to my parents that man does not live on Design alone, and that the Entertainent Industry needs alot more than just Jules Fishers)

 

[xander]

I am working at a community theatre right now. Granted, we have 3 people full time and pay our SM's, Directors, and Designers. I am making a pretty good living here and getting benefits and retirement. It is not the norm for a community theatre, but it works. This job allows me to still go do summer work and pick up work at other places while still pulling in a steady pay check and keeping up benefits for myself and my wife.

Anymore, a gig is a gig. If you are working and have benefits and consistent hours its hard to leave that. There are way too many people out of work right now to be choosy.

I am curious as to why this theater of yours is called a "Community Theater" at all if it has so many full-time and paid employees. I would call that a professional theater. I have always thought of the very definition of "Community Theater" is a theater that does not have these conditions. I.e. is mostly volunteer with maybe a very small administrative staff, like an AD and GM.

-Tim

 

[erosing]

Non-Profit still. Would that be correct Kyle?

 

[Footer]

We are not for profit and we do not pay our crew or our actors, they completely volunteer. Added to that, we do not pull people from outside of the capital region to be in our shows. The only reason we have paid positions and we pay our designers/directors/staff is to raise the production value of the shows. I call it semi-professional community theatre. If we did not have volunteers from the community we would not be able to put shows up.

 

[journeymanjohn]

In my community theter days, I always got paid. Never as much as what the work was worth, but it was a little bit of extra cash,...for doing something I enjoyed.

Depnding on the show, I would get about $250-$500 (early/mid 90s). Design, hang, and run. Often alone, occassionally with the man who taught me helping. One of us would run audio, the other lighting.

Actually, I was surprised that we were the ONLY ones getting paid, but we negotiated that going in up front and in writing, with a letter of agreement. It helped that there were so few of us "certified" to either work Electrics, Audio, or Stage Manage and it was required by the PAC that at least one certified person in each of the areas was onsite for rehearsals/performance, as that created just a bit of a demand to justify some cash. Of course, the few shows that flopped had us waiting on our money a few times too. The concept of sharing a piece of the "door" was bounced around some too (by them when it was a bust, by us when it was SRO).

Good luck in your efforts. Just remember... doing something for a "living" is much different than doing the same for pleasure and as an artistic outlet.

 

[icewolf08]

I am curious as to why this theater of yours is called a "Community Theater" at all if it has so many full-time and paid employees. I would call that a professional theater. I have always thought of the very definition of "Community Theater" is a theater that does not have these conditions. I.e. is mostly volunteer with maybe a very small administrative staff, like an AD and GM.

-Tim

We are not for profit and we do not pay our crew or our actors, they completely volunteer. Added to that, we do not pull people from outside of the capital region to be in our shows. The only reason we have paid positions and we pay our designers/directors/staff is to raise the production value of the shows. I call it semi-professional community theatre. If we did not have volunteers from the community we would not be able to put shows up.

I don't think there is any rule that says that community theatres can't have full time staff that get paid and benefits and all. There are plenty of community theatres that operate in a "professional" manner. I think, as has been mentioned that the big differences are where you pull your talent from and if they are union or not. I think that a community theatre can even pay their talent, the stipulation being that the talent and the staff come from the local community.

 

[xander]

I don't think there is any rule that says that community theatres can't have full time staff that get paid and benefits and all. There are plenty of community theatres that operate in a "professional" manner. I think, as has been mentioned that the big differences are where you pull your talent from and if they are union or not. I think that a community theatre can even pay their talent, the stipulation being that the talent and the staff come from the local community.

I guess that makes sense. Silly college educations, they can't get everything right!!

 

[kenneth]

I too want to be a LD, and do both that and am board op in secondary school (high school).

Sorry to sound stupid, but what is an ME?

Kenneth

 

[mstaylor]

I did a show Saturday that had a barbershop quartet in it. All four were music teacher ranging from middle school to college. When they were introducing the members the lead said one wasn't currently teaching but had instead left to take a job in professional theatre because of the money. I thought imediately to myself that isn't a move up, lateral at best.

 

[erosing]

ME = Master Electrician

 

[photoatdv]

The Master Electrician is the individual responsible for hang, circuit, and focus of the rig in accordance with the LD's design. He or she also is normally responsible for repairs and maintenance and oversees the techs (moving light tech, ect) and electrics crew. On smaller shows (and often in school) the LD is the ME. It is important that the ME is familiar with circuit capacities and electrical safety, rigging/ hang procedures (for lighting) to a varying degree depending on the production.

On a high school black box show the LD/ME might hang 10-20 fixtures on an existing grid (with safeties of course) and plug them into pigtails, replace a couple of burned out lamps, then return to LD territory.

On an arena tour however, the ME would tie in or oversee the tie in of multiple 200-600A distros, oversee a crew of 20+ electricians during hang (from truss), ensure that the circuiting does not overload the circuits, keep phases balanced, keep a manageable cabling scheme, make sure all units are in proper working order, oversee several LED/ ML/ general techs, and several assistant ME's. He or she would need to be familiar with high voltage electricity and tie in procedures, rigging (to ensure that the methods used to hang the lighting doesn't compromise the integrity of the rigging), and have great management skills.

 

[Footer]

On an arena tour however, the ME would tie in or oversee the tie in of multiple 200-600A distros, oversee a crew of 20+ electricians during hang (from truss), ensure that the circuiting does not overload the circuits, keep phases balanced, keep a manageable cabling scheme, make sure all units are in proper working order, oversee several LED/ ML/ general techs, and several assistant ME's. He or she would need to be familiar with high voltage electricity and tie in procedures, rigging (to ensure that the methods used to hang the lighting doesn't compromise the integrity of the rigging), and have great management skills.

That person is usually called a Lighting Crew Chief or Head Electrician. The term Master Electrician is being phased out, moving towards the more P.C. term of Head Electrician or Production Electrician. Also few if any houses will allow a road crew to tie in power themselves. Usually the House Electrician does that. Not to nit pick....

 

[MrsFooter]

That person is usually called a Lighting Crew Chief or Head Electrician. The term Master Electrician is being phased out, moving towards the more P.C. term of Head Electrician or Production Electrician. Also few if any houses will allow a road crew to tie in power themselves. Usually the House Electrician does that. Not to nit pick....

Not to disagree with your nit picking, but in our space we will not tie in the power to a road show by ourselves without a road tech around. While yes, it is a house person who does the physical tie, we always make sure that there is a road guy as an active part of the process, watching each step closely with regards to their gear.

Because after all, it's not our gear that gets fried if a mistake is made.

In relevance to the OP, let's put it this way. You can make enough to survive, and even live comfortably. (Meaning without large debts and with a few frivolities.) But if salary is a large concern of yours beyond paying the rent, then you should probably look into another career.

 

[len]

A couple points that I think should be re-emphasized:

1. Skimming through the posts, it's apparent to me that the job description depends on a lot of factors. So the more you know, the better off you are.

2. Success as an LD, or ME, or whatever, depends a lot on you. That's one aspect of the industry that appeals to me. You do good work and they keep calling.

As for being on salary, I believe there are a couple LD for bands, but not many. The band pays the salary, with the understanding the LD will be able to go to whatever one-off the band books at the last minute. I believe the guy who works/worked for Phish is like that, but not sure.

Also, this is like every other industry. You've got to pay your dues. No one (almost) starts at the top. You've got to put your time in dragging feeder through the mud at the local dirt fest. You've got to spend your time bench focusing lights for hours on end. Become an expert at the basics before you can move up.

 

[Footer]

As for being on salary, I believe there are a couple LD for bands, but not many. The band pays the salary, with the understanding the LD will be able to go to whatever one-off the band books at the last minute. I believe the guy who works/worked for Phish is like that, but not sure.

I know a few sound guys that are on that system. He is essentially on retainer like a lawyer would be. He is paid a decent amount (not enough to survive on, but enough to pay rent) when he is not working with the understanding that if they call him he could be anywhere in 48 hours. When he is out he gets his day rate.

 

[kicknargel]

Another job (career? maybe) option is to work in a road house. Some days you're a deck hand, some days an ME, some days maybe an LD for mid-level road show (I'm doing one of these tonight). I do it as a sideline, but the crew makes around $14/hr plus medical (it's a university). There are only two full time positions, but I bet other places may have more.

Nick Kargel
www.youwantwhatproductions.com

 

[wfor]

How rare do you all imagine a resident LD would be? I imagine they would frequently be a ME also...

I feel like a "semi-professional" theatre (see earlier posts...) would have a sound/lighting guy on staff typically.

 

[mstaylor]

As someone that ties power in for road shows all the time, the house electrician does the hook-up and energizes/deenergizes the system. I always have the road guy look at the tap and sometimes they even meter it, but they really have nothing to do with tapping anything.
ME is a theatre term only, in my experience, but even there it is becoming head electician. In the concert world I have never heard the ME term at all.
As far as making a living, learn everything in college you can. Do electrics, carps, sound and video if available. Many shows are starting to run media from the lighting board.

 

[Footer]

How rare do you all imagine a resident LD would be? I imagine they would frequently be a ME also...

I feel like a "semi-professional" theatre (see earlier posts...) would have a sound/lighting guy on staff typically.

Resident LD's are common in dance companies. Even at the theatre I work at we rotate designers. For the show that we are about to open I am playing LD, Scenic Designer, and TD and PE. I am getting paid extra for the designs, but I am still doing the work. For the last show we did I did not design a thing.

Electricians/carps/wardrobe/stitchers/TD's/Audio Engineers are nearly always hired for a season. Artistic staff on the other hand are hired show to show. There are theatre companies out there that will hire one person to be the "lighting guy". Usually this position does more electrical work then design and is not paid all that well. They are there to light the stage. In the concert world however (at least on the smaller club tours) most LD's are also the head electrician for the tour. They haul cable just like anyone else. It is not until you get to the big leagues that the LD can roll off the bus and run the show and even then its rare.

Most theatres try to not have resident designers. They might have a pool of designers they use often, but they are not given every show. It tends to stagnate the design of shows if you have the same person every show. You don't hire the same designers every time just like you don't hire the same actor to play the lead or the same director. Different people are better for different shows.

 

[JChenault]

RE salary and ( more importantly ) what it is like to be a lighting designer. If you can go to a USITT convention. The Hemsley foundation typically does a session there where they get three to six lighting designers and they talk about the profession - what their life is like, etc. That is where you will find some answers.

I do know that a lot of successful designers have moved from being freelance designers to teaching and being freelance designers. I believe the statement was retirement and medical insurance tipped the balance.


Re community theatre - My impression is that there are not a lot that hire full time designers. I work with a community theatre that does six musicals a year. Total budget for the operation is around 1.1 million. They have six folks that are full time employees, but none of them are designers. We do job in our designers and pay the lighting designer about $900 per show to hang, focus, and cue.