IATSE Local 205 congratulates Kevin Squires on obtaining the position of House Carpenter at the Paramount Theatre, and Ryan Graham, on obtaining the position of House AV Technician at the Long Center. We look forward to representing you and hope you will consider joining our union!
Via Sam Chesney, Steward Committee Chair:
Brothers and Sisters,
Local 205 will be offering Steward 2 training and testing again in October. This course is open to all members who have completed previous Stewarding courses. There is no charge associated with this class.
Dates: October 5th and 6th from 9am to 5pm
Location: IBEW 3rd Floor Meeting Hall
Please RSVP to
The Steward 2 course is for members who have completed Steward 1 training and offers additional instruction in writing grievances, investigating complaints and incidents, dealing with management, CBA analysis, Call Steward, Hiring Hall paperwork, and a lot more. In addition, the second day, October 6th, we will be offering the Steward exam.
Note that the Business Agent is under standing orders from the membership to appoint and crew stewards who have passed this test and attended these classes above other considerations. Also note that in order to keep your qualified steward status you are required to re-certify bi-annually.
Chair, Steward’s Committee
CITY OF AUSTIN BUDGET HEARING. AUGUST 18, 2016.
RE. CITY FUNDING TO ZACH THEATRE
IATSE LOCAL 205 PRESS RELEASE.
The International Alliance of Theatrical & Stage Employees, or IATSE, Local 205 of Austin, Texas, founded in 1911, assists our local stagehands in securing better working conditions and wages in music, theater, convention, and film production in Austin.
Stagehands at Austin’s ZACH Theater approached IATSE Local 205, seeking help to achieve fair and economically stable wages and working conditions. ZACH chooses to pay stagehands less than the area standards, and there is wage disparity between genders. Working people are often faced with the difficult choice of leaving the craft they love to find work that enables them to provide for their family. People who work in entertainment for a living should be able to earn a living wage.
ZACH management has responded in a negative and hostile manner to the stagehands campaign and its supporters. We are asking that ZACH stay neutral and let workers make the choice to negotiate collectively.
ZACH stagehands feel their best chance of affecting positive change is speaking up together to shape their workplace.
For further information, please contact:
IATSE Local 205 Organizing Committee Chair, Paul Arebalo Jr. at ">p; ZACH Internal Organizing Committee Chair, Katie S. Anderson at ; or IATSE Local 205 President, Rachel Magee at .
IATSE Local 205 Press Release 2016-08-18 (PDF)
2016-08-18 COA Zach Budget Hearing Speech – Rachel Magee – Local 205 President (PDF)
Photo, Image Credit: Radar Bateman (JPG)
City Council Budget Hearing Archive Video:
Testimonials begin at the 4:00min mark.
Dear Brothers and Sisters,
The annual TX AFL-CIO Labor Day Fish Fry celebration will occur on:
Freshly fried fish, side dishes and beverages (beer and soft drinks) are available to you upon the purchase of a $10 ticket. All proceeds go towards raising funds for the Central Labor Council who help push labor friendly legislation at the local level and support labor friendly legislation at the state level.
I have tickets available so that you may purchase your ticket now. Either contact me in person, or purchase your ticket from me at the August regular meeting.
This is a fun way to welcome in the Labor Day weekend. I hope you will attend.
The position is open until filled. Read the full description and how to apply. Note, this position is covered under an IATSE Local 205 Collective Bargaining Agreement.
Status: Full-Time Reports To: Director of Production Salary/Benefits: IATSE Local 205
Summary: The Paramount Theatre, a 100 yr. old Historic Theatre and one of the few remaining hemp houses in the United States, is seeking a qualified Fulltime House Carpenter
Scope: As a working member of the Paramount Theatre house crew the Head Carpenter is responsible for managing/overseeing the safe and efficient operation of all stage equipment during work calls, load-ins and load-outs, for all productions at the Paramount Theatre, including events and rentals. The Carpenter is also responsible for oversight and management of the maintenance and upkeep of all stage systems and equipment in the Paramount Theatre. This is a staff position, you are expected to commit to a schedule of forty (40) hours per week, attend meetings as required, work independently and help plan for the long-term preservation of the theatre.
Responsibilities: (in no particular order of importance)
Acts as Crew Chief, aiding the Production Managers in running the crew for each event. The Carpenter is responsible for confirming times sheets are filled out correctly and managing the crews in a safe and efficient manner. They are responsible for ensuring that schedule is maintained & breaks are adhered to, they will inform Production Management of changes in a timely manner. On calls with IATSE Steward, the Carpenter will work closely with the Steward.
- Carpenter is responsible for keeping the weekly work schedule for House Heads.
- Have a working knowledge of all other departments (Lighting, Audio, Fly & Projection)
- The safe and efficient operation of the Theatre and Stage systems.
- Participate in the planning and safe installation of all stage systems at the Paramount Theatre. Including but not limited to; Audio, Rigging/Fly, Electrics.
- As Head Carpenter you will communicate with Production Manager at ½hr and top of show to confirm FOH is ready. In most cases you will make the calls to Lighting, Audio, Fly & Projection as required to start the show.
- Work as part of the non-departmentalized show crew for all productions at the Paramount.
- Actively provide support for presented and rental productions and events. This includes, but is not limited to company functions such as backstage tours, on-stage parties and events, photo shoots, etc…
- Consult with Production Management with respect to purchase/rental of equipment and expendables needed for upkeep of the stage/theatre and individual needs of shows.
- Schedule, perform and/or assist in performing inspection of all Paramount Theatre systems. Inform Production Management of any upkeep, repair or routine maintenance to be performed in a timely manner. Work with the Dept. Heads to schedule required maintenance/repairs.
- Coordinate with other Dept. Heads to budget needs throughout the year
- Work with and communicate with other House Dept. Heads (Audio, Lighting, Fly, Projection) to maintain a unified and organized house crew.
- Keep informed and up to date with training and skills including changes, technical advancements and safety protocols in the industry.
- Manage personnel safety and uphold safety protocols within the department. Participate in all required training.
- Attend production meetings as required.
- Reports directly to Director of Production/Technical Director (Asst. Director of Production & Production Manager)
- Other duties as assigned.
At a minimum, the House Carpenter must:
- Manage and prioritize the day to day duties of the House Crew on non-show days
- Supervise a crew of up to 50 in a safe & efficient manner during load-ins, load-outs, work & show calls.
- Have the ability to set priorities, meet deadlines and multitask. Must be able to see the bigger picture.
- Have the ability to work independently & as part of a team.
- Be able to act as liaison between visiting production and local crew
- Efficiently communicate to what is required/expected, keep them motivated through completion of tasks.
- Understand budgets, estimates and scheduling and the importance of adherence
- Be able to efficiently supervise and instruct assistants. Be able to direct others.
- Maintain a clean, safe, unobstructed Theatre/Stage.
Qualifications, Education, and Experience:
- Have 3-5yrs experience as a Head Carpenter either in a House or Road position (or comparable experience)
- The safe use and application of power tools & hand tools.
- They must have good carpentry skills, working knowledge of stage carpentry and the skills required to build a variety of scenic elements as well as the application of such elements. (We are not a producing house and as such we do not build sets for shows. We do have to build individual items as required for certain self-presented events). They must also possess the ability to make repairs to the stage and house as required.
- Knowledge of and experience with a single purchase counterweight and a hemp fly system.
- Working knowledge of chain motor rigging.
- Working knowledge and experience with theatrical rigging.
- Complete understanding of backstage etiquette. A good working knowledge of technical theatre practices.
- Exceptional collaborative attitude. Exceptional customer service attitude.
- Excellent work ethic including but not limited to: time management, work flow management, self-motivation, diplomacy, and interpersonal and collaborative communication skills
- Must be able to lift 50 pounds unassisted. Must be able to climb stairs & ladders, kneel, bend at the waist, and stand for extended periods of time. (Must be able to climb 50’ straight ladder to the grid and not have a fear of heights)
Requirements also include, but are not limited to
- An intimate knowledge of knot tying (including but not limited to: bowline, belays, prussic hitches, clove hitches) block & falls and the basic laws of physics.
- Working knowledge of Fly system, Sound, Lighting & Projection (digital & film). Carpenter may be called upon to help out in these areas as needed.
- Basic Computer skills
- Organize and communicate information clearly both verbally and in writing.
- Work in a detail oriented manner, be resourceful and flexible, and be able to handle multiple tasks simultaneously.
- Apply feedback to improve performance.
- Effectively problem solve and troubleshoot.
- Face demanding situations with tenacity, diplomacy and sensitivity under a lot of pressure.
- Work independently AND as part of a team
- Attend staff meetings as scheduled by Production Management.
- Work irregular hours, evening hours, long hours, late hours & weekend shifts as required.
Deadline: Open till filled.
This is a salaried 10 month 40hr week contract August 1 – May 31 and then hourly/on-call from June 1 – July 31, Texas is a right to work state you do not have to be a member of the union to accept this position.
The Paramount Theatre, Stateside at the Paramount & Austin Theatre Alliance are a family. We spend a lot of time together in these buildings and as such the ideal candidate will be able to mesh technical proficiency with social skills & a love for preserving this 100yr old gem. To learn more about The Paramount & Stateside at The Paramount, visit our website at www.austintheatre.org. We are host to 2 Film Festivals & 1 TV Festival each year. We have a diverse season of shows plus we produce/present a 4 day 10 venue Comedy Festival each April & our annual Gala takes over 2 city blocks in Downtown Austin.
Dear Stage Alliance Employees:
I am pleased to announce that IATSE Local 205 won it’s grievance against Stage Alliance in regard to the dispute over Long Center wages. Additionally, the arbitrator granted the remedies we were seeking. The details are as follows:
Although the arbitrator ruled that Stage Alliance did not fail to bargain with the Union and dismissed our unfair labor practice charge, the arbitrator also ruled that Stage Alliance did violate the collective bargaining agreement (CBA) when it unilaterally altered the show classification system at the Long Center. Furthermore, the arbitrator has ordered Stage Alliance to reinstate the show classification system for the life of the CBA as it was prior to the change made in September 2015. In addition, Stage Alliance shall “make whole” (pay the missing wages and health and annuity benefits) all of the stagehands who were not paid the appropriate Class A wage rate for shows that they worked at the Long Center since September 10, 2015.
Per the arbitrator’s ruling, the Union will prepare a list of affected shows, as already detailed in Stage Alliance’s arbitration announcement.
This positive result for Stage Alliance employees is the result of the hard work that Local 205 puts in to negotiating and enforcing our agreements. We could have gone to mediation or taken the compromise that was offered by Stage Alliance, but we listened when employees told us that they did not want to give up the wages that they were entitled to.
In closing, I would like to take this opportunity to thank everyone who showed solidarity on this issue. This win is great news for our Local and for Stage Alliance employees alike. We are here to serve Austin’s stage employees by negotiating agreements with fair wages and conditions, and then by protecting those agreements. This is why IATSE Local 205 exists!
Attention all Stage Alliance Inc. Employees. Below is an update on the Stage Alliance Inc. wage dispute arbitration proceedings. Additionally we’ve created a handy page in the news section to catch all the Stage Alliance Inc. updates moving forward.
The arbitration hearing between Stage Alliance and IATSE Local 205 took place on July 7, 2016. The arbitrator will issue her ruling within 30 days of the hearing date.
The hearing was in connection with Local 205’s grievance regarding the reduction of A rate shows and the expansion of B rate shows at the Long Center for Performing Arts initiated in September 2015.
Further to President Magee’s letter posted previously, please note that it has been determined that Frank Warren was a B rate show and is therefore not in dispute. Additionally, Local 205 is awaiting payroll information regarding Legend of Zelda and Mandy Patinkin to determine whether these shows will be included in the grievance.
(via Local 205 President, Rachel Magee)
We, IATSE Local 205, are hosting our 2nd Annual Stagehand Appreciation Cookout in two weeks! All Austin area stagehands welcome, regardless of union affiliation. Please RSVP for you and your party to .
Date: Sunday, July 24th, 2016
Location: Martin Park, 10 Chicon St., Austin, TX 78702
The schedule is as follows:
12pm-1pm – Set up starts
3pm – Food Served
4pm – Stagehand Olympics!
8pm – End of Cookout / Clean-up
Bring yourselves, your fellow Austin area stagehands, members and non-members alike, and your families!
We will be cooking burgers and other foods on the grill. Feel free to bring a side or something to throw on the grill.
We are looking for people to help with set-up, cooking and tear-down.
We are also look for people to bring along common cookout goods and activities, such as:
- Grilling Tools
- Cutting Boards/Food Prep Items
- Tables / Chairs
- Games (2×4 Jenga, Frisbees, Kites, etc.)
- Items for Stagehand Olympics
Please contact Paul Arebalo, Chair of the Organizing Committee, at or leave a comment on the facebook event if you are able to help out in any way.
Dear Stage Alliance Employees:
I am writing to update you on the ongoing dispute over stagehand wages at the Long Center for Performing Arts between IATSE Local 205 and Stage Alliance, Inc. An arbitration hearing will take place July 7-8, 2016 to rule on this dispute. The following details the events thus far.
Since 2010, Stage Alliance has applied an A or B rate to shows performed at the Long Center. The A rate secured a wage of $17.00 p.h. and was typically applied to shows with ticket sales over a determined seating capacity. The B rate secured a wage of $15.75 p.h. It was applied to maintenance calls and shows that did not mean the A rate criteria. Each year, stagehands worked substantially more A rate hours than B rate hours.
In 2014, the Union secured our first multi-year Agreement with Stage Alliance and our first wage increase in four years; a 25 cent increase on both the A and B rates increasing them to $17.25 p.h. and $16.00 p.h. respectively. However, in September 2015, Stage Alliance informed Local 205 that due to the signing of a new contract between Stage Alliance and the Long Center, the classification system was to change. Effective immediately, all shows would now be classified as B rate with the A rate only applying to Broadway shows, of which the Long Center has perhaps two per year. Or, the we could accept an offer of one flat rate for all shows performed on the Dell Stage of $16.60 p.h. As this is not what the Union had bargained for, and with $16.60 p.h. being far below our area standard for stagehand wages, we sought legal counsel and filed a grievance against Stage Alliance disputing the wage cut, and an unfair labor practice charge for not providing Union requested information and for making a unilateral change without first bargaining with the Union.
Since my initial letter notifying you of this wage cut, there have been several meetings with Stage Alliance to try and resolve the dispute. During which time, it was revealed that the new contract between Stage Alliance and the Long Center, signed September 2015, no longer has A and B rates as originally presented to the Union. Rather, it has one mid point rate for all work on the Dell stage. As such, Stage Alliance has maintained it’s position that stagehands be paid one flat rate of $16.60 p.h. for all work performed on the Dell Stage. Local 205 has maintained the position that our Agreement, which was negotiated on the basis of past practice of the application of the A and B wage rates and the assurance that no future changes were anticipated, be honored. When a dispute remains unresolved, the grievance moves to arbitration. Arbitration is expensive. Stage Alliance asked if the Union would consider a cheaper, half day mediation prior to arbitration. Mediations are used to find solutions through compromise. A date was set last March for a mediation hearing and the Union held several meetings with Stage Alliance employees to determine what compromise, if any, stagehands would be willing to accept. Through these meetings, it became apparent that compromise was not palatable to the majority of affected stagehands and that what we all really want is for our wages to be reinstated as they were prior to September 2015. As such, mediation was put to one side and a date was set for arbitration.
In May 2016, National Labor Relations Board reviewed our unfair labor practice charge. The board agent ruled against the union’s charge regarding withheld information. Prior to the ULP hearing, Stage Alliance had provided the requested information, namely a copy of the contract between Stage Alliance and the Long Center. The part regarding the failure to bargain is being deferred to the arbitration hearing.
Below is list of what the union believes to be misclassified Long Center shows. If you worked as a stagehand on one of these shows, you were paid $1.25 less per hour than we believe you should have been, and not only were your wages reduced, but so were your health and annuity benefits, which are 8% and 4% respectively of your gross wages. To date, the shows in dispute are:
Frank Warren, Ballet Folklorico, MexNet Dinner, Screwtape Letters, UB40, Bollywood Masala, Neil Gaiman, Vietnamese Live, Hook movie, Les Ballets Trockadero, ASO Pops, Arlo Guthrie Peking Acrobats, Sweet Honey In the Rock, Vocalosity, Carol Burnett, Shen Yun, Star Trek Ultimate Voyage, Black Violin, Buick GMC Dealer Meeting, Legend of Zelda, and Mandy Patinkin.
The arbitration hearing will take place on July 7-8, 2016. At this hearing, both parties will argue their case in front of the arbitrator. Based on the arguments presented, the arbitrator will make a ruling on the dispute. The arbitrator’s ruling will be final and binding. Local 205 will be arguing for our wages to be reinstated until the expiration of our current Agreement in 2017. Additionally, our grievance asks for all affected stagehands to be made whole, meaning that hands be compensated for their loss in income since September 2015. There is no guarantee we will win this grievance, but despite the financial cost to the Local, we feel that we must do everything we can to get our wages back.
IATSE Local 205 President.