The stagehands, Mr. Gillinson pointed out, have huge and varied jobs to carry out, far more so than at halls like the Met or Avery Fisher, where the fare is more predictable. They must set up and dismantle configurations for daytime rehearsals and evening performances on all three stages for 800 events a season, sometimes seven days a week.
They must move pianos, unload instruments from trucks, set up and adjust sound equipment, move risers for orchestras, keep an eye on maintenance throughout the building, fix seats, remember different orchestral seatings and even keep in mind what kind of podium a conductor prefers.
“I never had a problem with what they make,” said James D. Nomikos, a former operations director at Carnegie who was their supervisor. “They sacrifice their family life, their time. By the time their careers are over, they’re broken, with all that lifting.”
Mr. Nomikos said the main reason to let the stagehands pile on the overtime was to provide continuity during the day. It makes no sense to have one set of workers set up for a morning rehearsal and a different set do it at the evening performance.