I wanted to talk this week about estimating labor, but while I was writing, I decided it made sense to dispel some common myths about labor in our industry first. That’s the topic of this week’s post: what we don’t know that we need to know about labor in theatre.

Myth 1: If an employee has a title that denotes “supervisor,” then they are exempt from minimum wage and overtime.

The US Department of Labor has very strict—and very clear—definitions of those classes of employees who are exempt from overtime and minimum wage requirements under the Fair Labor Standards Act (FLSA). FLSA provides for four major categories of employees who are exempt from both minimum wage and overtime regulations: executive, administrative, learned professional, and outside sales employees. The important factor in all of these exemption categories is that the determination of whether an employee qualifies is based on a description of duties and responsibilities, not job title. For example, to qualify as an executive employee an employee must meet all of the following requirements:

  • The employee must be paid on a salary basis at a rate not less than $455 per week
  • The employee’s primary duty must be managing the enterprise, or managing a customarily recognized department or subdivision of the enterprise
  • The employee must customarily and regularly direct the work of at least two or more full-time employees, or their equivalent
  • The employee must have the authority to hire or fire other employees, or the employee’s suggestions and recommendations as to the hiring, firing, advancement, promotion, or any other change in status of other employees must be given particular weight.

Based on these requirements, for example, an employee with the title, “lighting supervisor,” would not be considered exempt if there were not at least two full-time employees working in the lighting department, title notwithstanding. Similarly, a carpenter paid $500 per week would not be considered exempt, because although they meet the salary requirement, their primary duty is not managing the enterprise or a department within the enterprise. Any employee not meeting the [equirements set forth by the Fair Labor Standards Act (or a state or local regulation with a greater standard) must be paid overtime, and their wage must meet minimum wage requirements.

Myth 2: If I pay an employee a salary, they are exempt from overtime.

Although being paid a salary is one key requirement for an employee to be exempt from overtime, unless an employee meets all of the requirements to be classified as exempt, they are still covered under the Fair Labor Standards Act as employees to whom overtime must be paid.

Overtime is based on an hourly wage rate. For employees paid a weekly salary, their overtime rate is based on a determination of their straight rate, based on the number of hours they’ve worked. For example, an employee being paid $500 per week who works 50 hours, is paid a straight rate of $10/hour; they would be paid $500 for their regular pay, plus an overtime rate of one-half the straight rate ($5/hour) for the overtime hours worked (10 hours), for a total pay of $550 for that week. (See this fact sheet.)

Consider a carpenter paid a salary of $500 per week. One week they may work 40 hours; they’d be paid $500. During load-in, however, they may work as many as 60 hours; they will have to be paid an overtime premium of $4.17 an hour for the 20 hours of overtime work that week (based on a straight rate of $8.33, or $500/60 hours).

Myth 3: Minimum wage isn’t a consideration when paying an employee a salaried wage.

As demonstrated above, being paid on a salary basis is not the only requirement to be met before an employee is considered exempt from minimum wage regulations. Consequently, employees who are not considered exempt from minimum wage cannot be paid a salary which results in a straight wage rate less than minimum wage (currently $7.25, depending on your state). This is based on the straight rate calculated each pay period. (See this DOL fact sheet.)

Consider a carpenter paid $400 a week. During a week in which this employee works 40 hours, her straight rate is $10/hour—well above minimum wage. However, if she were to work 60 hours, her straight rate drops to $6.67/hour, which is below minimum wage. To pay her $400 for a 60 hour work week is illegal. In order for this carpenter’s straight rate to stay above minimum wage, she cannot work more than 55 hours in a given week. (Additionally, as discussed above, she’d be eligible for 15 hours of premium overtime pay, at a rate of $3.63/hour.)

Myth 4: An “intern” isn’t subject to minimum wage or overtime considerations.

The Department of Labor has a very narrow definition of “intern” as related to overtime and minimum wage regulations. Simply being called an “intern” (or “apprentice”) doesn’t make a person exempt; the position must meet six specific requirements:

  • The internship must be similar to training which would be given in an educational environment
  • The internship experience is for the benefit of the intern
  • The intern does not displace regular employees
  • The employer providing training derives no immediate advantage from the activities of the intern, and on occasion its operations may actually be impeded
  • The intern is not necessarily entitled to a job at the conclusion of the internship
  • The employer and intern both understand that the intern is not entitled to wages for the time spent in the internship.

If all of these conditions are not met, the intern is entitled to minimum wage and overtime protections under the Fair Labor Standards Act. For example, if, during a summer season, the labor provided by technical or design interns and/or acting apprentices is absolutely necessary to the completion of a set build, light hang, or costume construction process, those interns and apprentices must be paid minimum wage, and must be paid a premium for overtime work.

It is not unheard of to try and “throw people at the problem” when we encounter a set that is too big to complete in the time we have available. However, simply working the shop for longer hours is not an acceptable solution—in doing so, legally we are obligated to pay overtime to non-exempt employees, and this can have a major impact on the labor budget and cash flow for an organization. We may often want to resort to bringing in interns and apprentices to help complete the build; if we find ourselves in a situation where we must utilize these interns and apprentices to get the job done—say, instead of hiring overhire carpenters— legally we are obligated to pay them at least minimum wage, which again can have a major impact on the bottom line. It is important to keep these considerations in mind when assessing the size of a build and the time required to complete a project.

Views: 11

Comment

You need to be a member of TheatreFace to add comments!

Join TheatreFace

Rich Dionne Comment by Rich Dionne on August 1, 2011 at 9:26am

@Krista: I teach this material to my grad students as part of a management class; one of the projects we examine is what were to happen to the bottom line of a theatre if they were to suddenly up and immediately begin strictly adhering to these regulations. We track how dramatically payroll expenses would increase over the course of one budget year, and project that many would collapse, unfortunately.

Part of why I talk about these issues isn't to encourage people to "turn in employers," but to ensure they are not ignorant of the situation. If you agree to work at a company that is less-than-strict in their adherence to overtime and minimum wage regulations, you should at least know what you're agreeing to. Additionally, I think it's vital for those of my students going on to become technical managers to understand that an essential part of their job is ensuring that overtime hours aren't required by a project--both because they can be ridiculously expensive for those companies who do pay as they should, and because there are those companies that don't (and you shouldn't put your company or your staff in that position).

In other words, anarchy and the overthrow of arts organizations isn't my aim--education and progressive correction are. :)

Kristi R-C  AKA MissWisc Comment by Kristi R-C AKA MissWisc on August 1, 2011 at 12:14am

Truth is, many summer stock companies are in violation of the law, but few "interns" are willing to turn in an employer.

Rich Dionne Comment by Rich Dionne on July 30, 2011 at 4:10pm

UPDATE: I've heard from colleagues that there may be a DOL provision for short-engagement summer entertainment enterprises related to minimum wage and overtime exemption. I'll do some research and keep you posted.

Rich Dionne Comment by Rich Dionne on July 30, 2011 at 5:36am
Richelle, as I understand the regulations, if it would be impossible to open the production without the assistance of the run crew members you're describing, then they should both be paid at an hourly rate no less than minimum wage, and also receive overtime premium for those work hours beyond 40.

This is a bit of a grey area, however; there is an argument to be made that as artists, we're making determinations about what work is necessary for a production; it may be that if we were not trying to provide a hands-on learning experience as a scenic grip in a real production experience, we would find a different way to accomplish a scene shift, use fewer pieces of furniture, etc. In that case, then I would suggest that the interns are not essential to the work, and thus are interns, not employees subject to minimum wage and overtime.

Does that make sense?

Of course, I'm not a lawyer, nor an expert in labor law, so anything I say should be taken for a grain of salt.
Richelle Thompson Comment by Richelle Thompson on July 29, 2011 at 7:22pm
I have the wage question for a regular summer stock employee! I know several that pay a flat "contract" rate. How can a summer stock pay a run crew member x amount a week and have them work anywhere from 40 to 70 hours with that labor law? (When I was on run crew for a summer stock, I would've been hard pressed to make minimum wage with the salary I received were based on a 40 hour work week. As it was, I made the mistake of calculating my hourly wage over the summer. Including tech, understudy rehearsals, and regular work weeks, I made about $.15 an hour.)
Rich Dionne Comment by Rich Dionne on July 29, 2011 at 5:28pm
These are all great questions, and, frankly, point to a potential issue in summer stock venues. The statement "does not displace regular employees" refers to whether a non-paid (or stipended) intern is taking the place of a potential employee, and, in my understanding, is tied to the statement "no immediate advantage from the activities of the intern." The enterprise should be able to continue, even if no interns were available; if that's not the case, then they are not interns, according to the Department of Labor.
Ian Boze Comment by Ian Boze on July 29, 2011 at 5:21pm

how does summer stock theater factor into the "intern" rules?

  • The internship must be similar to training which would be given in an educational environment
    • most cases is true so no question there
  • The internship experience is for the benefit of the intern
    • again, not a problem as that is generally the point of summer stock theater
  • The intern does not displace regular employees
    • most theaters do not have regular employees to be displaced by "interns"
  • The employer providing training derives no immediate advantage from the activities of the intern, and on occasion its operations may actually be impeded
    • this is where i question it for most summer stock if the "interns" were not there the show would not go on
  • The intern is not necessarily entitled to a job at the conclusion of the internship
  • The employer and intern both understand that the intern is not entitled to wages for the time spent in the internship.
    • is true for unpaid interns but what about internships that provide a "stipend"

Subscribe to Stage Directions

Start Your FREE Subscription to Stage Directions Today!

SD covers everything from backstage to box office--performance to production and is filled with practical tips and information you need to stay on top of theatre trends.

Start getting your own copy today!

Theatreface is the networking site for professional, educational and community theatre brought to you by Stage Directions Magazine.

 

© 2011   Created by Jacob Coakley.

Badges  |  Report an Issue  |  Terms of Service