Contract Clash Simulation Worksheet Union Playbook
Labor Relations & Contract Simulation
Graduate Seminar
Production Management
The Landscape of Labor
In professional theater, the Technical Director (TD) and Production Manager (PM) act as the primary interface between management and union labor. Success requires more than technical skill; it requires a granular understanding of Collective Bargaining Agreements (CBAs) and the ability to navigate jurisdictional disputes without halting production.
The 5-Minute Grievance
Today's simulation focuses on "Contract Clash": A jurisdictional dispute occurs exactly five minutes before the house opens. How do you resolve it while ensuring the curtain rises on time?
Key Unions
IATSE Stagehands, Wardrobe, Makeup, Designers (USA 829).
AEA Actors and Stage Managers.
SDC Directors and Choreographers.
Part 1: Jurisdictional Analysis
Review the provided contract excerpts and determine which department holds jurisdiction for the following tasks. Cite the specific rule if possible.
Scenario Task Primary Union Justification / Contract Cite A scenic element requires a wireless LED to be sewn into a costume piece. An actor needs to trigger a manual trap door from underneath the stage. The prop department needs to use the stage fly system for a heavy scenic drop.
Part 2: Grievance Simulation Brief
URGENT
The "Red Tape" Incident
Status: Pre-show (House opens in 10 minutes).
Incident: The Lighting Head (IATSE) has filed an immediate grievance because the Stage Manager (AEA) personally moved a floor lamp 2 feet to the left during a quick-fix check.
The Conflict: The Lighting Head claims this is "Yellow Card" work and demands a minimum 4-hour call payment for the entire electrics crew for the violation.
Your Goal: Negotiate with the Lighting Head and the AEA Stage Manager. You must prevent a work stoppage without bankrupting the production's contingency fund.
Note: The Producer is watching. Every minute of delay costs $1,200 in overtime for front-of-house staff.
Negotiation Response Plan:
[Draft your response strategy here: Who do you talk to first? What contract language do you leverage?]
Union Playbook Slides Union Playbook
Labor Relations in Professional Theater
The Stakes of Labor
Financial Risk
Grievances and work stoppages can cost thousands per hour in OT and lost revenue.
Personnel Morale
The TD/PM relationship with the crew defines the culture of the building.
"A theater is a machine for creating magic, but the machine is made of people and contracts."
The Powerhouse: IATSE
Stagehands
Jurisdiction
The stage floor, fly system, lighting, sound, props, and wardrobe.
Work Rules
Minimum calls (usually 4 hrs), meal breaks, and turnaround times.
The "Yellow Card"
Specifies the number of stagehands required to move a traveling production.
Negotiating the "Gray Areas"
"It's not my job."
When departments overlap (e.g., Video vs. Electrics, Props vs. Carpentry). How do you decide who pulls the trigger?
"I'll do it myself."
Management doing union work is the #1 cause of formal grievances. Why is this a danger even if you're "just helping"?
CORE PRINCIPLE: Never touch a tool, even if you know how to use it.
The Grievance Life Cycle
1
Informal
Verbal discussion on site.
2
Formal Filing
Written grievance submitted.
3
Arbitration
Neutral third-party hearing.
4
Resolution
Financial penalty or policy change.
Simulation: Contract Clash
You have 10 minutes before the house opens. A grievance has just been filed. You need to resolve it without losing the show.
Analyze
Negotiate
Lead
Union Playbook Teacher Guide Union Playbook
Teacher Facilitation Guide
Lesson 1
Labor Relations & Contracts
Instructional Objectives
Identify jurisdictional boundaries between IATSE, AEA, and USA unions.
Analyze Collective Bargaining Agreements (CBAs) to resolve labor disputes.
Demonstrate professional negotiation techniques in a high-pressure environment.
Calculate potential financial impacts of labor contract violations.
Materials Needed
Union Playbook Slides
Simulation Worksheet
Contract Excerpts (Handout)
Timer/Stopwatch
Lecture Notes & Key Concepts
The Golden Rule of the TD/PM:
"Never pick up a screwdriver on a union stage."
Explain that for management to perform union work is essentially taking money out of a member's pocket. Even if the crew is friendly, the Business Agent has a legal obligation to protect the contract.
Yellow Card Shows: Explain that Broadway tours are "Yellow Card" shows. This means IATSE International sets the minimum crew size, and the local venue cannot change it. If the local tries to use fewer hands, the show doesn't unload.
Part 1 Worksheet Answer Key
Scenario 1: LED in Costume
Jurisdiction: Shared / Wardrobe (IATSE) + Electrics (IATSE).
Usually, Electrics builds the circuit, but Wardrobe attaches it to the garment. Dispute arises over who "maintains" it during the run.
Scenario 2: Actor Manual Trap
Jurisdiction: Props/Stagehands (IATSE).
AEA rules generally forbid actors from performing technical operations unless it is an essential part of the "character's action" and has been cleared by equity safety.
Facilitating the Simulation: "The Red Tape Incident"
Step 1
Set the Atmosphere:
Play pre-show music or "chatter" over the speakers. Dim the lights slightly. Announce "House opens in 10 minutes!" through the PA if possible.
Step 2
Role Assignment:
Split students into groups of three: The TD (Management), The Lighting Head (IATSE), and the Stage Manager (AEA). One observer per group is recommended to take notes on negotiation style.
Step 3
The Pressure Point:
After 5 minutes of negotiation, interrupt with: "The Producers are in the lobby. They see the delay and are asking for an immediate update. Every 5 minutes of delay costs $500 in FOH labor. What do you do?"
Fiscal Strategy Slides Module 02
Fiscal Strategy
Balancing Artistic Vision with Budgetary Reality
The Producer's Dilemma
"The budget is a moral document. It shows what you value most in a production."
01
Artistic Intent
02
Financial Solvency
03
Strategic Compromise
Total Production Cost
Materials & Labor 65%
Design Fees 15%
Contingency 10%
Misc / Admin 10%
Defining "Value Engineering"
It is NOT just "cutting the budget."
VE is the systematic method to improve the "value" of goods or products by using an examination of function.
"What does this scenic piece DO for the story, and can we do that cheaper?"
Technique: Substitution
Using foam instead of carved wood; projection instead of paint.
Technique: Simplification
Reducing the number of moving parts or automated cues.
Technique: Re-imagining
Combining two scenes into one set to save on transitions.
Strategic Allocation
The "Money" Scenes
Identify the 20% of the production that provides 80% of the "wow" factor. Protect these funds at all costs.
Key reveal effects
Final climactic sequence
Unique period costumes
The "Trim" Areas
Where can you hide the savings without the audience (or the Director) noticing a loss in quality?
Off-stage masking
Structural over-building
Repetitive ensemble pieces
The $50,000 Cut
Your production of "The Great Gatsby" is $50,000 over budget. The Director refuses to cut any script elements.
Value Engineer the show. Now.
Time Remaining: 20:00
Fifty K Cut Worksheet The $50K Cut
Value Engineering Simulation
Fiscal Strategy
PM-MOD-02-B
Lead Production Manager
Production Date
Production Brief: THE GREAT GATSBY
The design phase is complete. The total estimated cost of all scenic, lighting, and costume designs is $275,000. Your hard budget limit is $225,000. You must cut $50,000 today. The Director has "Veto Power" on three items of your choosing—but you must still meet the number.
Initial Design Estimates
Category / Item Estimate Proposed Cut New Total Automated Revolving Stage Custom 24ft revolve for the party scenes. $45,000 The "Green Light" Laser Array High-end programmable laser system. $12,000 Period-Specific Hand-Sequined Costumes 20 ensemble members, full custom. $60,000 Real-Water Swimming Pool Element Reinforced stage, liners, plumbing. $35,000 Marble-Effect Finished Floor High-gloss MDF with faux-marble paint. $18,000 TOTAL TO CUT $170,000 Target: $50,000
Part 2: Value Engineering Rationale
For each major cut above, explain how you will maintain the director's artistic vision (e.g., if you cut the revolving stage, how will you handle scene transitions?)
Cut Item #1 Rationale:
Cut Item #2 Rationale:
The "Veto" Protection
Which single item did you refuse to cut entirely, and why is it functionally essential to the narrative of The Great Gatsby?
Fiscal Strategy Teacher Guide Fiscal Strategy
Teacher Facilitation Guide
Lesson 2
Budgeting & Allocation
Strategic Concepts
This lesson shifts students from a "shopping list" mentality to a "strategic investment" mentality. The goal is not to find the cheapest option, but to find the option that provides the most narrative impact per dollar spent.
Function vs. Form: Does the item need to look like marble, or feel like marble? (Function vs. Aesthetics).
The 80/20 Rule: Focus spending on the "Money Shots" that define the production.
"Value is what you get. Price is what you pay."
- Warren Buffett (applied to Theater)
"The $50K Cut" Simulation Keys
Common Student Pitfalls:
Cutting Contingency: Many students cut the 10% contingency first. Remind them that Gatsby is technically complex; cutting contingency is a "suicide mission."Spreading Cuts Too Thin: Explain that taking $2,000 from every department usually lowers the quality of everything without solving the core problem. Encourage one "Big Move."
Line Item Recommended VE Strategy Target Savings Automated Revolve Switch to a manual drive or eliminate the revolve in favor of wagons on tracks. Use creative blocking to simulate rotation. $30,000 - $35,000 Real-Water Pool High-risk item. Substitute with lighting effects (water ripples) and a mirrored floor element. Drastically reduces plumbing/safety costs. $25,000 - $30,000 Sequined Costumes Keep the leads in high-detail. Use "off-the-rack" vintage pieces for the ensemble and hand-sequin only the collars/cuffs to catch light. $15,000 - $20,000
Facilitating the Negotiation
Challenge the Students:
"The Director has just walked in. They heard you are considering cutting the Swimming Pool. This is Gatsby—the pool is where he dies. Convince the Director that your lighting alternative is actually MORE poetic and visually stunning than a leaky tank of water."
Check for:
Are they using 'Technical Terms' to justify artistic losses? Do they sound like a partner to the Director or an accountant?
Check for:
Do they realize that labor costs often outweigh material costs? A 'cheaper' material that takes 100 more hours to prep is actually more expensive.
Safety Protocol Slides Safety Protocols
Risk Assessment & OSHA Compliance
The Forensic Lens
Negligence vs. Accident
An accident is a failure of a system. Negligence is a failure to create the system in the first place.
"As the TD or PM, you are legally and ethically responsible for every person who walks under a batten or steps on a platform."
Duty of Care
OSHA Compliance: The Big Three
Fall Protection
Required for heights over 4 feet (General Industry) or 6 feet (Construction). Railings, harnesses, or safety nets.
Lockout / Tagout
Ensuring automated equipment cannot be energized while being serviced. Life or death for maintenance crews.
Hazard Comm
SDS (Safety Data Sheets) for every chemical in the paint shop and prop shop. Proper labeling is mandatory.
The Risk Assessment Framework
1
Identify the Hazard (e.g., Trap Door).
2
Determine the Likelihood (1-5 scale).
3
Determine the Severity (1-5 scale).
Control Measures
Elimination (Remove hazard)
Engineering Controls (Guards)
Admin Controls (Checklists)
PPE (Hard hats, gloves)
CRITICAL INCIDENT ANALYSIS
Forensic Analysis: Stage Failure
In 2011, the stage at a major venue collapsed during an outdoor concert. We are going to analyze the forensic report to identify where the chain of negligence began.
Read Report
Identify Gaps
Prevent Future
Forensic Accident Worksheet Forensic Report 11-04
Chain of Negligence Analysis
RESTRICTED / ACADEMIC USE ONLY
Incident Summary
At 19:42 during a tech rehearsal for a touring production, a 4x8 scenic platform elevated 12 feet above the stage deck suffered a structural failure. One performer was on the platform. The performer sustained non-life-threatening but career-altering injuries. The following facts were established by the forensic engineer.
Date: Oct 14, 2024
Venue: Grand Lyric Theater
Equipment: Stage-Left Automation Elev-04
Condition: Low light, smoke effects active.
Forensic Evidence Logs
Evidence #01 Hardware
The 3/8" Grade 5 bolt used in the primary pivot joint showed signs of shear stress. Engineering specs required a Grade 8 bolt for this load application.
Evidence #02 Logbook
The daily inspection log for Oct 14 was signed by a trainee. The section for "Hydraulic Fluid Check" was left blank, but the overall system was marked "PASS".
Evidence #03 Personnel
The TD was off-site at the time of the rehearsal. The Lead Carpenter (who was on-site) had not been trained on the specific emergency stop sequence for this lift.
Evidence #04 Documentation
The Risk Assessment for the "Elevated Scene" identified the fall hazard but listed "Caution" as the only control measure. No harness or railing was specified.
Forensic Analysis Worksheet
Failure Point Type of Failure The "Fix" (Future Prevention) Bolt Grade Discrepancy Logbook Oversight Personnel Training Gap
Conclusion: Determining the "Single Point of Failure"
While multiple things went wrong, which ONE decision (or lack thereof) do you believe was the root cause of this negligence? Justify your answer based on OSHA General Duty Clause concepts.
[Write your forensic conclusion here]
Risk Assessment Template Worksheet Production Risk Assessment
Standard Technical Protocol Form
Form ID: PM-SAFE-01
Revision: 2026.01.A
Production / Show Name
Assessor Name
Date of Assessment
1. HAZARD IDENTIFICATION
Detailed Description of Activity/Element:
Example: Use of high-speed vertical lift with performer during Act II transition.
Affected Personnel:
Performers
Stagehands
FOH / Audience
2. RISK RATING (BEFORE CONTROLS)
Likelihood
5
10
15
20
25
4
8
12
16
20
3
6
9
12
15
2
4
6
8
10
1
2
3
4
5
Severity / Impact
Initial Likelihood (1-5)
Initial Severity (1-5)
Total Risk Score:
3. MITIGATION / CONTROL MEASURES
Control Strategy Specific Action Taken Responsible Party Engineering Controls Administrative Controls PPE / Emergency Plan
Production Manager Approval
I verify that the above controls have been implemented and inspected.
Technical Director Approval
I verify that the structural/mechanical integrity of this element is sound.
Scheduling Logistics Slides Module 04
Logistic Logic
Mastering the Critical Path
The Critical Path Method
The Critical Path is the longest sequence of tasks that must be completed to ensure the project finishes on time.
Why it matters:
Identifies "Zero Slack" tasks.
Prevents departmental bottlenecks.
Justifies OT requests to Producers.
Load-In (Day 1)
Rigging (Day 2)
Lighting Focus
"If Rigging is delayed by 4 hours, Lighting Focus is delayed by 4 hours. This is the path."
Visualizing the Timeline
Department
MTWTFSSMT
Scenery
Electrics
Sound
TECH START
The Production Manager's job is to manage the overlaps.
The "Departmental Duel"
The Scenario:
The Scenic Painter needs the stage floor to be wet for 8 hours for a glaze to dry.
The Lighting Designer needs the stage dark to focus overhead fixtures.
The Sound Engineer needs a silent room to ring out the system.
How do you solve it?
Interleaving (Alternating 2-hour shifts)
The Graveyard Shift (Night labor)
Work Isolation (Partitioning the stage)
Department Duel
Five departments. One stage. One deadline.
You have 15 minutes to coordinate a 48-hour tech schedule where every department gets what they need without going over their labor budget.
Simulation: Logistic Logic
Department Duel Worksheet Department Duel
Logic & Logistics Challenge
Module 04
Gantt-Logic-A
Logistics Coordinator
Production Deadline
Friday, 18:00 (Curtain)
Departmental Requirements
Paint: Needs 8 hours of "Wet Floor" time (No walking on stage). Glaze must dry for 4 hours before the next task.Lighting: Needs 6 hours of "Dark Time" for focus. Cannot happen during Paint wet-floor.Sound: Needs 4 hours of "Silent Time" for tuning. Needs the full PA system flown first.Rigging: Needs 6 hours to fly the PA and scenic drops. Stage must be clear of personnel.Costumes: Needs 3 hours of "On-Stage Quick-Change" rehearsal with the actors.
The Constraints
Tech Start: Thursday 08:00
Tech End: Friday 17:00
Labor Cap: 8-hour shifts max
Rule: Silent time and Dark time CAN overlap. Paint time and Dark time CANNOT overlap (safety).
48-Hour Logic Solution
Map out your departmental schedule below. Use abbreviations: P (Paint), L (Light), S (Sound), R (Rig), C (Costume).
Day 08:00 10:00 12:00 14:00 16:00 18:00 20:00 22:00+ Thursday Friday CURTAIN
Strategic Rationale
Identify the Critical Path:
Which task, if delayed by 30 minutes, would crash the entire Friday opening?
Conflict Resolution Strategy:
Explain why you chose to schedule Paint when you did. How did you manage the "wet floor" transition?
Scheduling Logistics Teacher Guide Logistic Logic
Teacher Facilitation Guide
Lesson 4
Scheduling & Logistics
Strategic Goals
This lesson moves students from simple list-making to 4D spatial-temporal planning. They must understand that in theater, space and time are the same currency. A "Dark House" is a wasted asset.
Key Teaching Point: The "Lead-Lag" relationship. Explain that some tasks can start before a previous one is 100% finished (Lag), while others are hard boundaries (Lead).
Core Vocabulary
- CRITICAL PATH
- FLOAT / SLACK
- DEPENDENCY
- RESOURCE LEVELING
- FAST TRACKING
Department Duel: Optimal Solution
There are multiple ways to solve the puzzle, but the most efficient path focuses on clearing Rigging early to allow concurrent tasks.
Phase 1: The Foundation (Thursday 08:00 - 14:00)
Task: RIGGING. This is the bottleneck. The PA and drops must be in the air before Sound can tune or Lighting can focus overhead fixtures.
Phase 2: The Parallel Shift (Thursday 14:00 - 22:00)
Tasks: LIGHTING FOCUS (Dark) and SOUND TUNING (Silent). These can overlap. By doing them together, you save 4 hours of stage time.
Phase 3: The Wet Shift (Friday 00:00 - 08:00 or 08:00 - 16:00)
Task: PAINT. Must happen when no one else is on deck. The 4-hour dry time happens while the crew sleeps (if using the overnight shift) or during a lunch break.
Debriefing the Logistics
Discussion Questions:
Q1: "If the Lighting Head says they need 2 more hours, where do you take them from? Which department is most 'interruptible'?" (Answer: Usually costumes/rehearsal can be moved to a lobby space).
Q2: "What is the cost of the 'Graveyard Shift' (00:00 - 08:00)? Is it better to pay 2x labor rates for a night crew or lose 8 hours of tech rehearsal time?"
Q3: "How do you manage the morale of a Paint crew asked to work at 3 AM so the LD can work in the light of day?"
Pro Tip for Simulation:
If a student group finishes early, throw a "Monkey Wrench": "A pipe in the paint shop burst. The floor is covered in water. You just lost 3 hours. Re-Gantt your Friday morning."
Crisis Leadership Slides PHASE FIVE: TERMINAL TECH
UNDER PRESSURE
Crisis Management & High-Stakes Leadership
The "Fog" of Production
In a crisis, the first casualty is Clear Information.
The Three Vectors of Crisis:
Technical (Mechanical/Electrical failure)
Personnel (Injury/Illness/Labor dispute)
Communication (Rumors/Misinformation)
Rule #1
"Don't do something. Just stand there."
- Take 30 seconds to breathe.
Escalation Mapping
LEVEL 1
Delayed Transition
LEVEL 2
Minor Technical Failure (Show continues)
LEVEL 3
Safety Hazard / Partial Stop
LEVEL 4
Show Cancellation / Evacuation
The Decision Threshold:
A
Can we bypass the element safely?
B
Can we fix the element within 5 minutes?
C
If we stop now, can we resume?
ACTIVE SIMULATION
Scenario: "Cascading Failure"
T-Minus 15 Minutes to Doors:
Stage Left Lift has seized in the "Up" position.
The Lead Actor is refusing to go on until the lift is fixed.
Main sound console has just rebooted spontaneously.
Your Resources:
1x Head Electrician (at the console)
2x Automation Techs (on the lift)
1x Stage Manager (on headset)
HOLD OR FOLD?
"You have 120 seconds to draft a message to the Executive Producer.
Are we opening the house on time, delaying, or cancelling?"
GO.
Crisis Decision Log Worksheet CRITICAL INCIDENT LOG
Under Pressure
Simulation Module 05
T-INC-LOG-99
Incident Commander (PM/TD)
Simulation Timer Start
T-MINUS 15:00
The Problem Set
1. TECHNICAL FAILURE:
Main Scenic Lift seized. Safety sensors active. Techs cannot bypass. Performer trapped on platform.
2. PERSONNEL CRISIS:
The Lead Actor (AEA) has had a panic attack due to the lift failure and is in the dressing room.
3. LOGISTIC CRUNCH:
House opens in 15 mins. Lobby is full. Board of Trustees is present for a pre-show cocktail.
Real-Time Decision Log
Elapsed Time Action Taken / Order Issued Department Intended Outcome 00:00 - 03:00 03:01 - 07:00 07:01 - 12:00
The Executive Update
The Executive Producer is on the phone. You have 30 seconds to deliver the news. Write your script below. It must be professional, factual, and state the final decision (Hold, Delay, or Cancel).
[PM to EP: "We have an incident on stage..."]
Self-Assessment
What was your most effective leadership moment?
Which information source did you neglect?
Crisis Management Playbook Reference Sheet Crisis Management Playbook
Standard Operating Procedure: Technical Leadership
Phase 1: Stabilization
Clear the Net
Establish radio silence on the primary channel. Only the Incident Commander (PM/TD), Stage Manager, and House Manager should communicate until the threat is identified.
Isolate the Hazard
Mechanically or electrically isolate the failing component. Engage Emergency Stops (E-Stops) if there is any risk to life or limb. Do not attempt a "hot fix" under pressure.
Phase 2: Evaluation
The Go/No-Go Checklist
SAFETY
"Is there ANY scenario where this failure could lead to injury? If yes, the show stops immediately."
ARTISTIC INTEGRITY
"Is the story still legible without this element? Can we perform a 'staged reading' or a modified version?"
LOGISTICS
"How long can the audience sit in the lobby before we lose them? What is the 'Refund Deadline'?"
Phase 3: Communication
Internal (To the Crew)
"Attention all departments. We have a Level 3 technical issue with the SL Lift. Stay on station. I need a status update from Automation in 2 minutes. Stay calm."
External (To the Audience/FOH)
"Ladies and Gentlemen, we are experiencing a minor technical delay. We ask for your patience and will provide a further update in 10 minutes. The bar will remain open."
Remember: In a crisis, your tone of voice is just as important as the words you say. Lead with authority and empathy.
Crisis Leadership Teacher Guide Under Pressure
Teacher Facilitation Guide
Lesson 5
Capstone Simulation
The Simulation Goal
This is a tabletop exercise (TTX). Unlike previous simulations, there is no single "correct" answer. The goal is to evaluate the students' ability to maintain command presence, prioritize safety, and communicate clearly under artificial stress.
Instructor Roles
- THE EP (Angry/Demanding)
- THE AGENT (Concerned for actor)
- THE TECH (Confused/Panicked)
Facilitation Timeline
Minute 0-5:
The Drop: Present the initial scenario (Lift failure + Actor panic). Give students 5 minutes to gather info.
Minute 5-10:
The Twist: Inform them that the Sound Console has rebooted. Now they have TWO failures.
Minute 10-15:
The Ultimatum: Give them 2 minutes to write the final update. They must choose:
Post-Simulation Debrief
Competency Exceptional (Graduate Level) Developing Safety Prioritization Refuses to bypass safety sensors; checks on the trapped performer immediately. Prioritizes "getting the show open" over confirming mechanical isolation. Command Presence Speaks in short, clear sentences. Delegates info gathering to specific techs. Becomes defensive when questioned by the EP; speaks in "we might" or "I think." Communication Provides a factual update to FOH with a specific timeline for next update. Gives vague "technical difficulties" updates without a follow-up plan.
Final Sequence Takeaway
"The Technical Director is the calmest person in the building. If you are panicking, the crew is panicking. If you are steady, the production is steady. Excellence is not the absence of failure; it is the management of it."
