“I’ve driven home falling asleep at the wheel, windows down, slapping my face to get home at night on local shows where I still might have a 40 minute drive home at 1am after notes.
But also because of our inflexible schedule, and low pay coupled with a scarcity-mindset, I missed my sister’s wedding. I was young and starting out and felt I had no choice.”
“As a parent of very young children, the rehearsal and tech schedule is the one of the main reasons why I am not pursuing my career at this time.”
“As a woman from a low-income family trying to escape generational poverty, and as a
first-generation college student, I was barely able to enter this industry. I took internships in the beginning that didn’t allow me enough money to eat some days. I would spend my last pocket change getting home on the subway, and get home to an empty fridge. I went without health insurance for years while trying to work my way up. The amount of hours required of an intern, of a salaried employee, of an hourly worker – all are discriminatory and made to elevate people who can afford to work these hours.”“At my age (nearly 40), these kinds of hours have caught up with me. I have back problems, I have aches from on- the-job injuries that were entirely preventable if we didn’t have this culture of “do it faster and better” and “prove yourself.” If I had not been relatively healthy and able-bodied at the beginning of my career, I could not have taken the risks that I did back then.”
“I would work upwards of 60-80 hours a week not getting paid accurately for my time. I had no life, no friends, in a brand new city and I could barely afford to eat. I felt depressed and often cried in the dark in the sound booth…I knew I didn’t want to spend the rest of my life like that so I left theatre all together about 7 years ago.”
“I started to keep track of what my hours in the building were through a payroll app. At the end of my second (and last) season, I had documented proof that there were multiple periods during the season where I would go weeks without having days off (I think one stretch was 7 weeks long) with many of those weeks being 60-70 hour weeks. By that second season, I was exhausted and burnt out; I asked the PM (who had also asked me to become the resident designer the next season) to hire a part-time assistant for me so I could get at least ONE day off a week… I was fired the day after I made that request”
“It’s HARD, and I’m very well-aware that, in my 40s, I’ve never been able to find a way to make many/any personal relationships work because I’m exhausted all the time (physically and mentally) and my “day off”; is usually spent sleeping and doing “life errands.””
“I can’t imagine how this is healthy for me… and when you think about how this schedule really is a barrier to so many other people who want to be theater artists. The way tech schedules are set up, you have to sacrifice your outside life in order to cram as much work into as short a process as possible. Why do we do this to ourselves?”
“As a disabled person, I feel like I constantly just have to “suck it up” and deal with my
chronic pain which is always exacerbated by long tech days…I take care of myself (which being scared of having to call out without having someone who knows my track definitely makes me do)…the long days make having a flare up more likely and almost impossible to recover from if I’m not able to get a full nights sleep. I’m only 22 and I imagine this all will only get worse as I age.”
“A 16+ hour day might sound absurd, but it was my lived experience when in tech for a new musical during undergrad when SMs averaged 17-18 hours in the building for 10/12s. On average, I find a 15-16 hour day to be the norm for a scheduled 10/12.”
“The more 10/12s in a process, the more time stage managers sacrifice from their sleep and self care patterns, leading to greater fatigue as time goes on.”
“10/12s also mean less safety. Those final hours of rehearsal, especially the last hour, are when people get sloppy, injuries happen, tech is less efficient, and everyone’s patience starts to wear thin. This is the effect of exhaustion, not of laziness.”
“According to most (all?) AEA contracts, actors need a 12 hour turnaround from when their call is finished one evening and when they can be called back the next day. Why are stage managers not given the same consideration, taking into account the extra hours we all work but aren’t reported?”
“It is a grueling schedule that really comes at a cost both creatively and personally…It got to the point where I was missing so much of my kids growing up. I was gone from my wife and kids for 40 weeks out of the year. Even when I was doing a show in town, I wasn’t really ‘home'”
“In my life, I can safely say that I have never made a good decision, in any manner of speaking, past 10 or 10:30pm in the evening.”
“My first tech weeks back post-baby were rough. Teching while running on very little sleep and also having to pump milk every three hours was terrible. The two 10/12s where I was in the building from roughly 9am – 1am after my first baby almost broke me.”
“With my second baby, I thought I was prepared, but once tech started my supply started dropping just as my daughter hit a growth spurt and wanted to eat, eat, eat. She went through my entire built up milk supply at home in the first two days of tech. I vividly remember sobbing in the theatre lobby with my husband telling him he needed to go buy formula because I just couldn’t pump enough in the upcoming 10/12s to feed our baby. Honestly, I have ZERO problem giving my kids formula – they both had it – it was just in that moment feeling like I was failing at being a mom, a woman, and a stage manager.”
“Working in this industry already means that your family structure is going to be non traditional…but why do we continue to promote these schedules that make having a family feel almost like a burden? I had the extreme privilege to have a parent be able to come and watch my kids during tech, but I thought often of other artist parents who are forced to step away from the business until their children are older because our system is not built for all.”
“It is not really a 10 out 12 for the designers and other technicians in the venue – Even as an assistant (Broadway level) I never worked less than 16 hours on those days. There are many uncompensated hours – there’s an implicit form of gatekeeping in there.”
“It is a turn-off to young folks from low income communities – they do not see it as a viable career to follow. $2,000 for several weeks of work? If you look at what it comes down to hourly, which I figured out by doing the math, was below minimum wage, you get paid more at Starbucks.”
“…this culture is extra hard on mothers and caretakers when there is an unspoken expectation work in excess of 16-18 hours a day during tech. That does not even account for all of the work accumulated in the process- meetings, managing email, sketches and drawings…etc.”
“How is someone going to ask to leave to go home/set time boundaries on their work to attend to their family obligations when they feel like doing so will cost them all future work?”
“As an assistant, you are especially vulnerable. On one occasion I worked 22+ hours straight with no break for three days in a row- and I mean NO break, not a meal break, not time to sleep- because there was a big “emergency” precipitated by the lead designer’s poor planning and lack of respect for equity rules. He got sleep and breaks, by the way, just not the third assistant.”
“Underpinnings of our industry are made up of this idea that we should never complain – that we feel compelled to give this free labor. And when we question it, we feel frowned upon.”
“My students are mostly BIPOC and 1st or 2nd generation, or are the first to attend college. And the culture of our business is a turn-off for them. We need more economic diversity instead of enforcing an upper middle-class hierarchy to the community.”
“We must understand how this work excludes and contributes to marginalization of BIPOC stories.”
“We should dismantle this macho culture of who can work the hardest and destroy themselves. It is unnecessary and unproductive. I’m not going to do that anymore and I’m not going to train people to do that anymore!”
“I think we’ve all at one point in our early career have done the math to see what our hourly rate is for design… As of result, I felt completely hopeless… How do you even begin to negotiate when this is the norm we live in? A norm in which someone else who can afford to take the job will take the “opportunity” away from you.”
“Not designed for people to have a life—it’s a sacrifice not a job, and there is no room for family life.”
“Many in our BIPOC community have left the business because of this.”
“There’s competition to stand out and working beyond our means – demands more than the staff is physically capable of doing, especially in the Off-Broadway circuit.”
“Usually, during that last hour, you start second guess what’s already been done and you come back the next day and you realize that what you did just doesn’t work.”
“As a director, I started experimenting with not doing 10 out of 12s in 2015…Usually, I can cut at least 45 minutes to an hour off each 10 out of 12s….In general people are happier, better rested and more productive.”
“What is not recorded is the extra time designers spend IN ADDITION to the 12 hours required to be there. LDs are usually there sometimes 4 hours prior and then stay up to 2 hours after… AND THEN we have to sit through a production meeting and makes some of the most important decisions that will effect the course of the week after an exhausting day… These are absolutely hazardous conditions we put ourselves through. I have on more than one occasion almost fallen asleep behind the wheel.”
“As a disabled individual, 10/12s and the 6-day work week are an incredible obstacle in my work. Among other things, I am immune-compromised and lack of sleep only makes my already fragile immune-system weaker. I often experience work-induced flare ups of my chronic conditions due to the long days and long work weeks. It makes it harder for me to be present when my body is fighting me and causes me to loose work because I can’t “struggle through” as we are too often expected to do.”
“I take about 7 different medications a day, some multiple times a day, most are time-sensitive and many require a strict eating schedule that the 10/12 or constantly varying work-days do not accommodate. I have to make impossible decisions choosing between taking my medications or eating enough; between work or medical procedures; between loosing work today because of illness/flare up or going and risking hospitalization; between fulfilling the expectations of my job and taking care of my body.”
“I believe that 10 out of 12 schedules is not a realistic schedule for a breastfeeding mother. This is from the perspective of a breastfeeding mom with a husband who works and the baby age two to six months. Clearly, for the single mother, the challenge will be much more… a breastfeeding mother working in a nonprofit (due to the lower fees the theatre needs to provide some sort of assistance for them. If not, the choice becomes either sacrificing a design job or her baby.”
“Some essentials and needs for a breastfeeding mom: housing within walking distance to the theatre, or a private safe space for the caretaker and her child. If the designer is local, the theatre should also provide transportation fees or support for commuting. Using public transportation late night after the production meeting is rough.”
“I accepted a tenure-track position and taught for nearly seven years at a public university with a majority BIPOC student body, and moreover, a significant percentage of underprivileged students, first-generation college students, and DACA recipients. It was saddening, then, to see students immersed in a theatre-making culture which reinforced damaging, self-sacrificing practices… unpaid sessions occurring during class hours, throughout the night… The spirit of volunteerism can be fiery and wonderful, but for many – especially for young BIPOC artists – the approach ultimately discourages engaging theatre as a meaningful profession. The exploitation begins early.”
“…The issues highlighted by the 10/12 tech rehearsal – would come into clear focus when, at age 36, I decided to enter a “soft retirement” of the robust regional theatre career I’d cultivated. It was the year my first child was born. I simply couldn’t afford to maintain a lifestyle that required my regular absence from the home for extensive day and night hours, while sharing with my wife (who also has a full-time career) the responsibilities of raising a child. The extent that I had succeeded to that point already felt, in fact, like an extension of privilege unavailable to artists with a different background.”
“I’ve seen a few designers who have survived and figured out their work, life, and monetary balance under the 10/12 tech schedule but introducing their assistant to the culture of overworking and underpay… I know too many designers who have decided not to do so and sees overworking as a form of initiation.”
“Being in a dark theater for prolonged times reduces my exposure to light, and while low levels of vitamin D is not as much of a big deal for some, it certainly is for people with MS .”
“In my educational setting, we schedule one 10/12, not because the show needs it but to help our students experience how grueling they are. My goal is to help them begin to build the coping and survive skills they will need in the workplace. I would love to never expose them to those again.”
“It is a grueling schedule that really comes at a cost both creatively and personally…It got to the point where I was missing so much of my kids growing up. I was gone from my wife and kids for 40 weeks out of the year. Even when I was doing a show in town, I wasn’t really ‘home'”
“…as someone who was once a child actor, I know how stressful it is to juggle both school and being in a show. It leads you to fall behind as a student and sent me through lots of stress at such a young age.”
“After 35 years, I have left that job and life because of the abusive schedule that’s expected of us.”
“…I feel like disabled people are rarely considered when we’re talking about inclusivity and diversity and while we have been having the conversation to an extent around actors, crew is really left in the dust.”
“As someone with both thyroid issues as well as fibromyalgia, it becomes more and more limiting to keep being efficient during these hours. It also means that even when I do a show just an hour away from home, that I purchase a hotel room to ensure my own safety.”
“And there was one night where it was a few minutes to the time we supposed to be released for the day but the director insisted that we run the scene that was just teched before leave. There clearly wasn’t enough time to do this and everyone was dead tired but our stage manager did not stop it. This scene required a transition into another scene where a multi-hundred pound living room set had to be hung maybe 40-50 feet in the air. Now because everyone was rushing to get this done since we were clearly the out of time for that day’s 10/12, the set piece was not hung properly and almost dropped on a cast member who thankfully had moved out of the way in time.”
“There’s also the fact that traditionally we’re using 1 of those dinner hours for notes as well so only actually taking a 1 hour break in the middle instead of that minimal 2 hour.”
“A 10/12 or whatever the tech rehearsal length is easily and normally a 14-16 hour day, and it takes a physical and emotional toll. I’ve had off and on tingling on one of my feet for a few months for being on my feet so much over several weeks of putting in a show. I have a permanent knot in my neck now, and during a few weeks of one tech I could not fully turn my head.”
“I mean it’s just a misnomer because it implies you’re only working 10 hours…And it’s exhausting. Not all of us can afford cabs home late at night, trains run even slower and the further out you live because rent, the harder the cycle becomes.”
“We should strive for solutions where no one on the show is asked to work more than a 10/12 on any given day. One path might be to have more tech notes days (e.g. 1 full day of tech notes for every 2-3 days of rehearsal). On the tech notes days, actors would go back to rehearsal room for acting/blocking notes. Another path is to hire more folx and do split shifts. Another might be hourly pay for everyone.”
“As a costume designer, a lot of our work happens long before tech. This work is often mentally taxing, and hard on our bodies. Often times our fee is so low, that by the time we make it to tech we are basically working for free.”
“As a Production Stage Manager and Mother of 7-year old twins, 10/12s are killing me. I wish theaters would either reduce these tech hours or provide robust childcare.”
“During the week when there are work calls staying in the theatre until midnight and then getting up to be back by 7 am…is onerous to say the least. No human should be asked to exist on 5 hours of sleep for days on end.”
“We’re not able to make the kinds of thoughtful responsive adjustments directors and producers want us to be able to make…”
“From a composer/sound designer point of view: The expectation is that we will work through every break, and then amend or change content after and between tech hours. Each individual addresses this the way that they can. Either they work during the tech itself, and are not as active during the process, or they work outside of tech knowing they will lose time to sleep and eat, but usually it’s a mixture of both depending on what part of the tech you are in.”
“We are one-person teams working through every moment, and between tech, every day through previews. Additionally, when we’ve been asked to be part of rehearsals, there is very rarely compensation for that time as well – or the understanding of the work that is needed to have a rehearsal show in addition to the actual show, and the rigging of that system.”
“What I am finding most detrimental is an expectation to work over breaks And the perceived differences between the tangible and intangible disciplines. Compensation is not equal to time/ pressure.”
“Efficiency – Many times I need the time to do more shopping or get the notes done. I can’t do it if we are required to be there so long.”
“Safety. As a woman, many times I don’t feel safe going home at 12 midnight. Also the safety of my assistants is a concern. Many are starting out and don’t have cars or the funds to take Ubers or Lyft home every night. People have to take public transportation ( because that is all they afford) which isn’t ideal late at night.”
“For the designer and assistants this is at least a 12 hour day, and usually more like 14 when notes after rehearsals and an abbreviated meal break are taken into account. This then leaves less than nine hours before work begins the following day. It’s a grueling schedule and does not promote work/life balance in any way. Quality and quantity of work are directly impacted, quality of life suffers, and it’s is all completely avoidable with advanced planning. To do this 2-3 times per show with 8-12 shows per season is not sustainable for “in house” folks.”
“I can’t take my family to doctors’ appointments, therapy, hospital visits – not to mention just needing to be there for them consistently as a mom and a daughter.”
“I am working as a local designer on an 10 out of 12, I just can’t do this. I can only leave my house so early in the morning to avoid traffic. And I have received push back from some directors about this who expected me to do all my notes outside of the ‘actors time’.”
“A hellish tech week caused an reaction so severe that I had to leave campus and go into intensive outpatient therapy. While there were tons and tons of factors that were involved with my suicide attempt, a hellish day of tech where I was yelled at in front of the entire cast and production team was the cherry on top. College students shouldn’t have 10/12s”
“I was working on a musical during Ramadan. 2 10/12 tech days while fasting. That’s sun up to sun down no eating food or drinking water. Instead of stage management moving the 2 hour dinner break until later in the day, they kept it as is. When the sun eventually went down, we weren’t even given a 10. We had to shove granola bars down and chug water in between lighting cues being set.”
“Having to be in an environment where there is constant and intense communication is intimidating. Some chronic diseases come with cognitive degeneration and in my case it is loss of words. People with MS tend to lose their words and for me this happens when I have to speak too much. Usually this is being perceived by other people as language incompetence, lack of communication skills, and sometimes even low levels of intelligence and lack of skills.”
“The way the day is being structured doesn’t allow for proper rest and MS fatigue is very real. When I experience it I am THAT tired. Sometimes I even fall asleep instantaneously. Again, I am being perceived as lazy and indifferent. Also, MS fatigue usually occurs in the middle of the day, which means I get to start my day in tech utterly exhausted.”
“When I have 10 out of 12 days, I literally cannot take my meals when needed in order to take my medication. Therefore I either have to change my medication schedule, or eat on the tech table during tech, which will definitely generate and amplify the impression of laziness. Also, people will think I don’t respect them. In order to avoid it, I will most likely have to disclose my medical condition to people regardless of whether I want to or not. Still, this does not guarantee that I will be understood.”
“Sleep deprivation. Sleep is important in MS, and being deprived of it is messing with my cognitive skills, as well as aggravating the physical symptoms. As a non white person and more specifically as a Greek this mostly translates into language incompetency and tendency towards laziness.”
“10 out of 12s from the perspective of a breastfeeding mom. I was not given a place to pump. I would have to do it in the stall of the public bathroom. The building was multi-use – so I had to put up with hearing patrons of other events complain about me taking so much time in the stall. It was a large restroom with multiple stalls and there were other bathrooms in the building.”
“Basically, my break consisted of me going to bathroom and pumping. Sometimes I would have to cut the pumping short to be able to pack everything up, get the milk to the backstage fridge, and then make it back to the table in time. I understand I should have been happy to have the job.”