Have you ever had a really terrible job? One so bad it’s almost a comedy? Let me share a few of the horror stories I’ve collected from working in the arts community.
Once upon a time, I was hustling as a props builder in New York City. Mostly, I loved it, until I landed a gig that turned into a nightmare. For a small fee, I had to attend endless meetings, and manage a set design I barely knew how to do. What was meant to be a simple task became a stress bomb that had me working for less than $2 an hour. The end product? Not something I’m particularly proud of. I learned that it’s important to speak up when you’re drowning in work, and listen to your gut instincts.
Just to paint a clearer picture, let’s take a look at an account from one of our stage managers. After university, he got a job for a so-called ‘friend’ who was producing a stage play. A month of non-stop work, including script rewriting and sound design, earned him £250 – a pittance considering the cost of living in a major city. The lesson? Sometimes, being unemployed is actually better than being exploited at work.
It’s not just the workers at the bottom of the hierarchy that get scammed, either. My college friend once worked as a production assistant at a glamorous benefit, expecting a paycheck of $500 after five days of exhausting work. Imagine her shock when all the checks bounced. Eventually, everyone got half of the promised payment, proving that even in seemingly prestigious roles, you’ve sometimes got to fight to get your pay.
Here’s another shocker. Someone I know was promised a decent salary as the Head of Stage for a touring dance company. However, upon arrival, they were told to set up the video equipment, something they were not trained for. The work soon snowballed, leading to 90-hour weeks, stressful travels and unruly colleagues. Remember, it’s okay to admit you’re out of your depth. Not every job is right for everyone.
A couple of years out of high school, a friend of mine took on the task of a stage manager at a youth summer theatre company. After three weeks of hard work, she was paid…in coupons. This is why it’s important to always have a contract, even if you’re working for a friend.
Lastly, let’s talk about an actress I know. She committed six weeks to rehearse for a play for an $800 stipend, only to have the director offend everyone by refusing a mandatory break during a rough day. His excuse? There were no other equity contracts in the room, hence he wasn’t required to do anything for anyone. Unsurprisingly, she refuses to work for him again.
So, what’s to take away from these stories? Know your worth. This isn’t about an inflated ego, it’s about recognizing what you have to offer and standing up for it. Make sure you fully understand the job you’re agreeing to and speak out if it turns out differently.
Don’t be fooled into thinking that the only jobs out there are the ones that will underpay you. This just isn’t true. Yes, there might be great projects with shoestring budgets, but you should do your best to balance these out with jobs that actually pay you fairly.
Has anyone else got a working in the arts horror story to share?