My wife and I have season tickets for events at Carnegie Hall and Lincoln Center. At intermissions, we sometimes watch absently as three or four men in gray suits emerge from the wings to move a piano into place or bring out extra music stands and chairs.
What they do is essential but unremarkable. Turns out that it is remarkably well-paid, however. Would you believe $422,599 a year? Plus $107,445 in benefits and deferred compensation?
That is what a fellow named Dennis O'Connell makes at Carnegie Hall. He is the props manager, the highest-paid stagehand.
Four other guys, two of them carpenters, two electricians, are paid somewhat lesser amounts, ranging down to $327,257, plus $76,459 in benefits and deferred compensation, for the junior member of the team, John Goodson, an electrician.
The hall was legally obliged to disclose the pay of the chief executive, Clive Gillinson, and the names and pay of the next five highest-paid employees. All five were stagehands. ...
At Avery Fisher Hall and Alice Tully Hall in Lincoln Center, the average stagehand salary and benefits package is $290,000 a year.
To repeat, that is the average compensation of all the workers who move musicians' chairs into place and hang lights, not the pay of the top five.
Across the plaza at the Metropolitan Opera, a spokesman said stagehands rarely broke into the top-five category. But a couple of years ago, one did. The props master, James Blumenfeld, got $334,000 at that time, including some vacation back pay.
How to account for all this munificence? The power of a union, Local 1 of the International Alliance of Theatrical Stage Employees.
--James Ahearn, NorthJersey.com, on what your concert ticket pays for. HT: Marginal Revolution