stage hand

entertainer

crew member

stage

audio visual technician

Rhino Staging

Never, NOT ONCE while I worked for Rhino, did the managers/supervisors communicate with each other. I’d be given an assignment via email with info on it like that gig’s supervisor and their contact. The supervisor would often get switched last minute but not changed on the itinerary or conveyed to folks working the gig.  That resulted in disciplinary action against workers fairly often as they’d be marked as no call-no show because they’d called the OG super to inform them of being late and that super having NO CLUE who the replacement was and making NO EFFORT to relay the message to the correct parties.

I was once given a disciplinary warning based on my “lack of performance” and during our discussion I told  the area manager,  I did not recognize the dates in question as me having been late and I NEVER NC;NS! 
  I did a quick crosscheck with my paycheck and sure enough, I’d been paid fully on every date. She didnt even bother to double check.

TOXIC, MANIPULATIVE ENVIRONMENT: 
That same manager would pander to people when she needed something.  She’d often call me asking if I could get to a gig across town, last-minute. Since I’m often freelance I’m always working so I’d have to turn them down more often than not. Any time I’d respond to the negative, her voice noticeably got colder and her attitude would change to the point where it bordered on being rude.  She once called me after a gig had wrapped and asked, in her sweetest, flirty voice, if I could go back because they messed up. I had offered to drive coworker home and was 40mins away from the job site so I declined.  
As she was hanging up I heard her say to some unknown office worker in her most spoiled little girl voice tone:

“See? I told you so.”
My passenger and I both heard it. Doesn’t exactly make you want to work for them when that’s how they act.

I’ve been in live audio as and audio engineer for ten+ years.  But their business strategy of “hire forty crackheads and hope at least one of them is competent” is frustrating at best.  They never bothered even looking to see my experience or capabilities.

There aren't many hands on industries where you see importance of what you do immediately. As a stage hand you are taught how to set up and take down technical apparatus to ensure the safety of concert performers and back ground staff. It's fast paced, physically demanding at times but rewarding. The leadership team and crews I ever worked with were professional yet serious, fun at times but serious...any mistakes setting up or taking down could literally become a life or death scenario. I worked part-time at Rhino Northwest and was offered to consider a position after working about 6 shows. Additionally one boom vendor asked me to submit an application with his company but the topping on the cake was when a very well know international band asked if I would consider joining their travel work crew. Had I not been a single dad raising my then 11 year old son and 18 year old daughter, I would have said sure.
It's been roughly 6 years since I interned at Rhino (2017) but after reading negative posts I felt compelled to share my experiences there.
As with any job or position you decide to go after,  if you come prepared to work, show initiative, ask questions, and do more than what's expected, sooner or later good things are bound to happen.
Prior to turning wrenches and pushing crates for Rhino at concerts set up and take downs, I had worked in corporate settings, and after my stint at Rhino Northwest I went back for a brief time to corporate and industrial work.
Rhino, for me, was a very interesting and demanding and very good place to work. I learned a lot, was valued, and treated respectfully. It's a serious responsibility to ensure the safety of people with overhead booms, cables, structures, etc,etc in large arenas and smaller venues. I would definitely recommend giving Rhino Northwest a shot. I did.

This place was good for a whopping month. I did a handful of large concerts and corporate events here in Las Vegas with Rhino. However, I've been "employed" since September 2014 and haven't gotten one single call in the past two and a half months. Even after I called to see if I was still even an employee with them, and told them I was open for work and looking for gigs with them. They said it is a slow time for the company. No, it's not. 

As far as working conditions.... If you are assigned as a stage hand, sometimes, they'll just group you into other job categories upon arriving to your shift. Each job title has a different pay grade. For example, SH gets paid about $6/HR LESS than an AVT , yet they'll place you in as one but later you don't get paid the difference. They'll even send you to corporate gigs that you mentioned you had no experience or not enough in Video....you then get to said place, they assume you should already know your stuff....as you should. But you don't, and it ends up being a stressful day with the in house people indirectly putting you on the spot or making you feel dumb the entire day. Not a pleasant experience. 

The only times it seems to be a good experience, in my short time with them, was setting up the arena concerts....Things are put together and organized better, team work is in play and the day goes by fast while being very productive setting up some cool things. Overall, if this company was more organized, didn't send you to things you had no experience in and more importantly, gave more stability...at least part time , it would be a much better review. Hopefully, things pick up and I can give a much better review, b/c I enjoy the work...when I get it.

I’ve been there five years. They start you off with maybe a couple calls a month doing more of the menial grunt tasks on a production before you eventually fall into a particular designation(A/V, loading , carpentry , etc). You will never be 100% sure how long calls will last, sometimes you’ll be cut from a workday by production without any prior notification until the moment of fact. Fast paced work, it takes a while to get used to  the pacing ,direction and technical terms pertaining  the industry. Attitudes can change depending on whichever production you’re assigned to work under. Some production leads can be dismissive, insulting, demeaning thoroughly unhelpful(possible afraid some will steal their work from them eventually) whilst others can be laid-back, tactful, patient and willing to take direction and give help and advice when needed. Company management and supervisors themselves will vary in their attitudes and professionalism. Some will naturally play favorites and give lighter workloads and tasks to their friends. Some will give in to the demands of production to the point of violating company and osha policies, especially regarding mandated breaks. It can be a grind. You will get to see celebrities and sometimes the live events themselves, however to some this luster will gradually wear off. Overall it is not a bad entry level experience, a first step in climbing the ladder in the staging/A/V industry though I recommend honing and developing your skills further, establishing strong networks and moving up to better companies  after 2-3 years.

My experiences with the Denver office over 9 years were mostly positive.  I found that if you were serious about the job, and not the perks or pecking order, then there was SOME room for advancement.  However if you are interested in the stars, begging for guitar picks, bragging to the drum tech that you played years ago in a bar band in Nebraska, taking advantage of the free food (if there is any), proving how big and strong you are by barking at fellow employees and slinging cable trunks or set carts around like toys...   Then you might want to find a different job.
Denver gets it, although they aren't perfect, they are far more functional than the other offices I've dealt with.  Just don't be arrogant.  Be honest.  Show up early, sober with your tools.  Communicate with the office a couple times a week and let them know when you are available.  Don't be desperate and resent others for the positions they have just because you don't know their story. Most of the 'A' team, if you will, have paid dues and shown initiative and are reliable. 

ALWAYS BRING A PAIR OF CLEAN SHOW BLACKS.  I've made A LOT of extra money by people either not showing up, getting hurt, or having to leave the gig suddenly for whatever reason.

This job is almost like getting paid to do cross fit, You are going to get a workout, but actually accomplishing something. On a typical day, you start with load in. usually a few semi trailers full of  expensive and heavy gear. Then break into teams to build and set your teams part of the project according to specs, and in a timely fashion. After the event is done, you tear it down and pack it up.
 Every event is different, so there are always opportunities to learn new gear, and ways to do things that make each project efficient. As long as you are doing what the road crew asks, and aren't putting anyone in danger, Management is very supportive and appreciative. Always there to help. The workplace culture is very diverse. All kinds of different people, and work scenarios. And there is usually a full team player attitude throughout. Yeah, you get your bad apples once in awhile, but seeing as this is contract work, you won't work with these folks very often. The hardest part about this job is, you are going to break a sweat, work fast (but safe) and hard. But the best part about this job is, There is usually a fun and friendly vibe, and when it's all done, and you step back to see what you've helped accomplish, you really feel a sense of pride!!  .

In this job you help set up, or take down, various trade shows and concerts. One day you could unload or load a truck full of equipment, and often set up trusses and stages for events. Other days could be setting up audio equipment. Another day you can do lighting. If you have experience with forklifts you can have that shift.

There are a lot of events to work, especially in the warmer months, so if you're good at your job you can make a living doing it. If you just want extra money, you can work events that fit your schedule and turn down anything you don't want to do.

Though if you are not good at heavy lifting, and aren't always alert, you could see the shift opportunities go away. You are never really let go, as some events can be short staffed and cancellations happen, and can sometimes be surprised with a last minute gig offer after weeks (even months) of getting nothing.

If you have good work ethic and don't mind a little workout, it is pretty cool being able to see behind the scenes of a music festival or a famous concert venue (Here in the Bay Area I've worked gigs at the Greek Theater and Bill Graham Civic Auditorium, and festivals like Outside Lands and Bottlerock for example) and you could even meet people in the entertainment industry... I've heard of networking successes in that area.

Rhino is a good place to start in the industry, There are some good, knowledgable people there and if you pay attention you can learn a lot.
Rhino has many offices mainly across the Southwest, as a company they focus on Right-to-Work states so employees are generally not treated as well as states and cities where the Labor Movement is strong.
Rhino maintains a company policy that disallows you from accepting any other work that they deem a "conflict of interest" - this is a problem because the work is seasonal and Rhino does not pay a living wage. A stagehand working for Rhino cannot support themselves within the industry working exclusively for Rhino.
The Rhino Northwest office is currently facing charges of unfair labor practice by the National Labor Relations Board and IATSE Local 15 in Seattle. Rhino's NW rigging dept sucessfully voted to organize and be represented by Local 15, but Rhino NW has retaliated by dropping the workers that voted in favor and hiring new workers to replace them, in direct violation of federal labor law. A hearing is currently being scheduled by the NLRB.

Rhino staging northwest consist of a lot of know-it-all greenhorns who will try to tell you what's what after their 3rd gig. 
Rhino staging northwest also misses out on COUNTLESS opportunities to stick up for their employees and claim "Its out of their control" just to save face with their clients. 
Everyone employed at Rhino staging is expendable as is everyone in this industry, but exceptionally so here.
Manipulation is a tool frequently used by management to get their calls filled. 
Human resources at Rhino Staging Northwest is also sun-par with how she treat the employees. She'll meet you with an ungodly  attitude one would get from a petty, frustrated wife. 
 The only way you earn any of the trainings is if you take every call they give you no matter how in convenient it is for you. And they will with out a doubt take advantage of your kindness.
Would only recommend rhino if you yourself are a strong, thick skinned individual who can read through peoples nonsense. 
Rhino also has a habit of hiring junkies and drunks and justifying by saying they needed their calls filled.

Do yourself a favor and go to school for this stuff and find a company that will give you benefits and your deserved day rates, because you wont find that at Rhino Staging Northwest.

If you’re looking to get a lot of experience in production, this is the place. There is no formal training, but you get on a lot of jobs where the expectation for experience is minimal. There are no set roles, so you will have the opportunity to try audio, video, lighting, stage carp, etc, and find your calling. 

The good:
Pay is fair for experience level. 
Overtime is stacked like the Union, so plenty of OT potential.
Great environment to learn if you are willing to put in the work.
Work backstage for the biggest artists and bands. 
Depending on your market, the work is relatively consistent. 

The not so good:
No full time hands=no benefits.
Work has a relative degree of inherent danger. Minor injuries are common, serious injuries possible. No health insurance, so you’re on your own. 
A lot of gear needed to work most jobs, and no compensation for purchase. 
Long hours in the hot sun. Water is provided by clients on load in, but usually neglected on the load out.
The office will expect full time availability from you, but no obligation to provide full time opportunity. You will be penalized for turning down work. 

All in all, good experience, not a great long term opportunity.

Top Job Titles	Average Salary
Stage hand 576 salaries reported	$21.70 per hour
Entertainer 117 salaries reported	$37.47 per hour
Crew member 119 salaries reported	$21.43 per hour
Stage 24 salaries reported	$28.96 per hour
Audio visual technician 4 salaries reported	$17.50 per hour

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