Apprenticeship Program

Nope, not at all. All projects that are a part of this program are paid positions. We do not believe in unpaid internships, and neither should you.

Well, that will somewhat be up to you. Part of the application process is to tell us exactly what you want to learn as a part of this program.

We’ll then look at a project that fits your interests and design a “course of study” that will help you fulfill those goals. For example, if you’re really interested in learning how timecode works, we probably won’t put you on a straight play. If you really want to learn how to call followspots, you won’t work on show without followspots.

View a sample course of study here.

You will have work and assignments to do to help the lighting team along the way, but overall this program exists to help you grow as a student and an artist. 

It might be easier to tell you what you WON’T be doing – you WON’T be:

• Taking the place of a full-time crew or team member.
• Doing physical load in, strike or other technical labor.
• Getting everyone else’s coffee (Well, maybe when it’s your turn. We all get each other coffee.)
• Sweeping the stage

Again, this is largely dependent on you as well as the project itself.  

Before you officially sign on, we will come up with a firm schedule for your involvement with the project that works for you as well as the production and lighting team.

Worth noting is that typically, the project dates listed end after the final dress/preview and are not inclusive of opening night. Typically, you’ll receive two free tickets to opening night and to the opening night party (if there is one) but this time is not considered paid/billable time.

It is also possible that work will be performed by the lighting team at times that are not included in your agreement. You are not required, nor would you ever be asked to attend calls that you are not being paid for. You are more than welcome to always be there to observe, but you will only be “working” according to the hours scheduled in your agreement. It is, of course, possible that we can add paid hours later in the process as time and budgets allow – but it is highly dependent on the particular project itself.

Yes. Sometimes we might even buy your drinks after tech, too! (If you’re old enough.)

Here’s the deal. We want to create a program that is as equitable as possible for everyone. Unpaid internships only create opportunities for the most privileged of individuals and perpetuate a system that leaves incredibly talented individuals in the dust simply because they could not afford to take a week or two off from their lives, families, and responsibilities for no money.

The funding for this program comes from multiple sources – from MWLD, from theatre companies, from participating schools, and even from some key industry sponsors. 

The educational component of this program is mostly in the direct shadowing of various design team members, to be aligned with the desires and needs of the individual participant. Reading assignments might be given in the weeks leading up to a project depending on the nature of the position and the project. 

Some examples:

A participant is very interested in learning about calling followspots, so they will be mostly assigned to work with the person on the team who is designing followspots for that particular production. They may be assigned reading from books like “The Assistant Lighting Designer’s Toolkit” to complete before arriving onsite. While onsite, they might take notes for the assistant/associate pertaining to followspot work. If the rehearsals are going really well and the participant’s skills allow, perhaps they will be allowed to call followspots for a song or sequence during a dress rehearsal. They will assist the assistant/associate in proofreading and creating followspot cue sheets. 

A participant is interested in programming, especially with timecode and moving lights. They may split their time between the designer and the programmer, learning both about cue placement and timing as well as the actual programming syntax of cues and sequences. Onsite duties might be taking programming notes for the programmer or designer. If time allows, they might be allowed to program a few cues under supervision of the programmer. 

A participant just wants to learn everything they can about anything they can. They spend a day or two shadowing each member of the lighting team and learning about their respective jobs and tasks, they may have general reading assignments in the weeks leading up to the onsite time. 

In any situation, the participant would never be taking the place of one of the professional team members. Any jobs or tasks that you are asked to complete would be typically in tandem with the person that you are shadowing. 

It varies – we try to get each company/theatre we work at to support the program, which means that there are opportunities all over the country. Upcoming shows with slots will always be posted below on this page. 

While Mike works full time for City Springs Theatre Company in Atlanta, this program is *not* affiliated with CSTC. 

Sometimes – it all depends on the individual project right now, but we hope to be able to offer full travel and housing benefits in the future as this program grows. We are talking with several industry companies about potential sponsorships, travel stipends, and housing accommodations. If you want to help sponsor this program, get in touch today!

Currently, travel is handled on a case-by-case basis. If a project includes or excludes travel, it will indicate that below.

Some schools have had success in funding the travel component for their students directly, and we’re happy to chat with faculty who want to explore this! 

This will vary from project to project, but typically your employer will be Mike Wood Lighting Design – we use Wrapbook as our employer of record and they handle all payroll taxes, worker’s compensation, etc.  You will be asked to complete an NDA as a condition of employment. 

Unfortunately this program is limited to more of the design & programming side of things. Our insurance doesn’t cover physical production work, especially involving ladders, lifts, catwalks, etc. 

Yes! We’ve had students complete this program and receive college credit – it all depends on the requirements of the school, but we are able to develop and provide necessary documentation on a case-by-case basis. If you’re a faculty member interested in this for your students, let us know!

While the program is open to anyone who meets the eligibility requirements (below,) we encourage you to spend a year or two at school or working in the industry before you apply. That’s not to say that we WON’T take someone right out of high school, it’s just that you will probably be able to get a lot more out of the experience if you come in with a little more of a baseline of experience. 

Please know that if you are not selected for a show, it typically has nothing to do with your skill level, portfolio, or talent. The goal of this program is to match apprentices with projects and teams that best suit their individual goals. Just because one show isn’t right for you, doesn’t mean that another won’t be. Keep applying and stay in touch!