Student Blog: Why Every Theatre Student should Work in a Technical Shop

You can't fully support what you don't understand. This is the realization I came to at the end of my semester after taking Introduction to Technical Theatre Practices at the University of Michigan.

I am a Bachelor of Theatre Arts student here at UMich, and one of our major requirements is to spend time working eight hours a week in various on-campus technical shops throughout a semester through a class called Theatre/Music 250: Introduction to Technical Theatre Practices. To many students, this requirement is initially daunting. I was among them– I felt similarly intimidated by the time and effort it required. However, after completing my experience, I am fully aware of why such a course is required, and now consider myself a champion for it being further enforced for more students within the School of Music, Theatre, & Dance here at UMich. 

There is a common misconception that theatre is divided into two worlds: One which contains the actors, directors, and producers, and one which contains the designers, carpenters, sitichers, and other shop workers. Many students enter their theatrical program thinking they only need to master their specific niche, staying within their own side. However, a production is a single organism. All elements, from the lead performer to the set painters, are vital to the production’s success. In order for there to be a true appreciation for the amount of labor that goes into creating a show, theatre students must understand each element of the work required to put it on. The immense amounts effort put in by technical shop workers can often go overlooked; their tireless work not fully understood by others involved in the production. For respect and cohesion, I believe that it is important for every theatre student to spend time working in technical shops. 

Initially worried about the experience, I quickly realized that technical shops serve as the heartbeat of each production. Some specific instances that brought me to this understanding were my work in the costume and paint shops. In the costume shop, I remember sewing on straps to the bottom of pants for a performer. Confused by their purpose, a stitcher explained to me,

“If you see the show, and someone’s pants aren’t sticking out of their boots, you’ll know that was your work!”

I was pleasantly surprised by this, realizing how my simple job would add to the overall look and functionality of the show. I also remember working in the paint shop, tirelessly painting walls for the voice department’s winter opera. While painting these walls, I couldn’t see how they would eventually come together to create a greater set design. I’ll never forget walking into the theatre once the entire set was built and finally seeing how my small contribution had aided in creating that large scale, detailed set. I felt a new and overwhelming sense of pride and deep appreciation for the work that goes on in the paint shop.

For a producer or arts administrator, technical knowledge isn't just a “nice-to-have” skill. This knowledge is necessary for financial and logistical responsibilities. As someone who mostly works as a producer, spending time in these shops has greatly aided my understanding and ability to work and communicate with designers and technicians. I have been able to see how materials are used and why they are necessary, helping me create and edit budgets with design teams. It’s easy, without the necessary knowledge, o look at a spreadsheet and cut materials you’ve never heard of. It’s much harder to do that when you’ve seen how these materials function within the shop space; how important it is for each element to be there. 

Theatre audiences, and sometimes the performers themselves, often forget that for every person under a spotlight, there were ten people in work boots three weeks prior. By stepping into those boots as a director, actor, or producer, you will gain a deeper understanding and respect for those who do that vital work. Classes like the one I took are an excellent, structured opportunity to take that step. The future of theatre depends on “bilingual” artists, or people who can speak the language of the designers and the actors. You can’t fully support what you don’t understand, so seize and be grateful for every opportunity to more fully understand your craft.