Head Audio Engineer

## Description

TITLE: Head Audio Engineer

STATUS: Seasonal

LOCATION: Becket, MA

REPORTS TO: Production Manager of assigned venue

DEPARTMENT: Production

SUPERVISES: -

WORKS WITH: Artistic Programming; Archives and Preservation; The School at Jacob’s Pillow; Marketing and Patron Services; Finance and Operations; Video Documentation Team; Facilities, Safety and Security; Visiting Companies Staff and Artists

ARRIVAL: May 11, 2026

START: May 12, 2026

END/DEPARTURE: End and departure days will vary depending on venue

Ted Shawn Theatre: August 30/August 31

Doris Duke Theatre: August 28/August 29

Henry J. Leir Stage: August 28/August 29

COMPENSATION: $23.58-26.00/hr; Time and a half after 48 hours

SCHEDULE: May: 5 day work week

June–September: 6 day work week

BENEFITS (ON-SITE ONLY): Three meals a day, free access to classes, performances, talks, and studio usage.

During the Festival there are three Head Audio Engineer positions, one for each of the Pillow’s primary venues: the Ted Shawn Theatre (TST), the Doris Duke Theatre (DDT), and the Henry J. Leir Stage (HJL). Candidates will be interviewed for all three and will be assigned to a venue when hired.

Built in 1942 as the first theater in America designed specifically for dance, the TST is a proscenium venue with motorized linesets that seats 620 patrons. The TST is programmed for 11 weeks of the season with an opening gala performance followed by productions by 1 company a week. The DDT is a modular wood box with flexible retractable seating, extensive catwalks, and robust technical infrastructure. The DDT is programmed for 7 weeks of the season with productions by 1 company a week. The typical TST and DDT performance schedule is 6 shows from Wednesday through Sunday. The HJL is an outdoor uncovered amphitheater style space that is programmed for 9 weeks of the season with most companies’ engagement being one performance. The typical HJL performance schedule is 3 shows Thursday through Saturday.

Head Audio Engineers are a member of the TST, DDT, or HJL production team and report to that theater’s Production Manager. Their primary responsibility is supporting the installation, maintenance, and operation of audio elements of Festival programming in their assigned venue. During the Festival they work closely and collaboratively with the Production Managers and staff of visiting companies as a member of the run crew for load-in, rehearsals, and performances. They are the primary Audio point of contact for visiting companies once they are on campus. With the assistance of the Audio Supervisor or Assistant Audio Supervisor run audio work calls. The Head Audio Engineer mixes and operates productions that do not travel with a company audio staff. Using information provided by the Audio Supervisor and Production Managers they coordinate show specific requirements that require adjustments or additions to repertory audio systems. They also assist the Production Managers and the Audio Supervisor with the organization and maintenance of their venue’s audio infrastructure, storage areas, and equipment. While the Head Audio Engineer’s primary focus will be supporting the Audio elements of productions in their assigned theater they will assist other production departments and other venues as needed and assigned by the Production Manager.

RESPONSIBILITIES

• Participate in the creation of an accessible and collaborative work environment that enables artists and technicians to create together positively and safely.
• Join advancing and show specific production meetings as needed.
• Assist in the installation of audio systems into all performance spaces, studios, exhibition spaces and temporary tents.
• Support audio activity during load-ins, load-outs, work calls, focuses, notes sessions, staging and technical rehearsals, performances, and changeovers.
• Program and operate the audio console during work calls, technical rehearsals, and performances in the absence of company lighting staff.
• Assist visiting companies’ audio staff in the programming and operation of the audio console.
• Assist the Assistant Production Managers in planning and facilitating any backstage audio needs.
• Ensure that audio systems are prepared and safe for all activity by leading daily and show-specific checks, maintenance, and set-up.
• Lead company load-ins, audio checks, and changeovers with the assistance of the Lighting Supervisor or Assistant Lighting Supervisor.
• Act as the primary audio point of contact for visiting companies during their time on campus.