Assemble and repair automated equipment.
Apprentices learn to programme, operate and maintain the automation systems that move scenery, set pieces and performers during theatrical productions and live events. The training covers electromechanical and electrical theory, reading and interpreting technical drawings, and the safe use of equipment such as winches, hoists, stage elevators, revolves and hydraulic drives. Health and safety legislation including LOLER and PUWER is central to the programme, as is understanding the production process and working within company safety and communications protocols.
Working across fit-ups, rehearsals, show runs and get-outs, the apprentice programmes automation cues, operates control systems during live performances and carries out planned maintenance on stage machinery. They inspect equipment, log repairs and isolate systems safely when needed. Interaction with performers, designers, stage managers, lighting and sound departments is regular, as movements must be timed precisely and communicated clearly. Evening and weekend working is normal during production periods, and tasks may involve working at height or in confined spaces.
Completing this apprenticeship leads to roles such as automation technician, automation operator, flys technician or stage engineer. Experienced technicians can progress to lead automation roles, deputy heads of department or production engineering positions. Employers include producing theatres, touring companies, commercial theatre operators, live events companies, and TV and film studios. The skills are transferable across venues and productions, and there is steady demand in both subsidised and commercial sectors.
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Completers typically move into Automation Operator or Automation Technician roles, taking hands-on responsibility for programming and running automation systems across productions. Other common entry points include Flys Technician, Stage Engineer, and Theatre Maintenance Technician. Some move into physical special effects work in film and TV. In each case, the role involves direct responsibility for the safe movement of scenery, equipment, and in some cases performers, within live or recorded productions.
With three to five years of experience, technicians commonly advance to Senior Automation Technician or Head of Automation, leading the automation department on productions and line-managing junior staff. The specialist track runs toward systems programming, automation design consultancy, or technical project management on large-scale touring or West End productions. A leadership track can lead to Head of Stage or Technical Manager roles, where responsibility extends across multiple technical departments rather than automation alone.
Theatres are the primary employer, from producing houses and receiving venues to touring companies. Opportunity also exists in live events, arena shows, and TV and film studios where mechanised set elements are in regular use. Employers range from small regional venues to major London venues and large-scale production companies. Both the subsidised arts sector and commercial entertainment hire for these roles, with some technicians working on a freelance basis across multiple productions.
Throughout the apprenticeship, the learner works in a real production or venue environment, building competence in programming and operating automation systems, maintaining equipment, and working safely alongside performers and other technical departments. Before moving to final assessment, the apprentice and their employer must confirm readiness at a gateway point, providing evidence that the required knowledge, skills and behaviours have been met. Final assessment then confirms whether the apprentice can perform the occupation to the required standard. Assessment models for many standards are currently being updated, so check the standard's gov.uk page for the current specification.
Apprentices should record workplace evidence as they go rather than trying to reconstruct it at the end. That means logging repairs, documenting maintenance activities, keeping records of system set-ups and noting how they have applied safety regulations such as LOLER and PUWER in practice. Working closely with both the employer and training provider throughout the programme helps ensure readiness for the gateway. Evidence gathered across varied production contexts, from fit-ups through to live performance, will give the clearest picture of genuine occupational competence.
Providers worth shortlisting will have demonstrable links to working theatres, live entertainment venues or TV and film studios, not just a general engineering or performing arts background. On their FATP profile, look for an achievement rate above 65% as a baseline; above 75% is a strong signal for a standard this technically and safety-critical. Because automation work is heavily regulated, check that the provider explicitly covers LOLER, PUWER and working at height within the programme. Employer satisfaction scores above 80% suggest the provider is engaging meaningfully with production environments, not delivering theory in isolation.
Be cautious of providers whose delivery leans heavily on classroom-based electromechanical or engineering modules without clear access to practical automation equipment, such as winches, hoists, drives or control systems in realistic production settings. A high learner volume paired with a declining achievement rate is a warning sign in a specialism with a small talent pool. Vague answers about how safety compliance and live-show protocols are assessed, or an inability to show where recent completers are working, should prompt further scrutiny.
Any employee aged 16 or over who is new to the role or needs formal development in scenic automation can apply, provided they are employed for the duration of the apprenticeship. There are no mandatory prior qualifications, but a background in technical theatre, engineering, or a related practical discipline is useful. Employers should confirm the candidate has enough genuine work to cover the full range of duties, including operating automation controls, maintenance tasks, and live production work.
The typical duration is 24 months. Apprentices work in the job throughout, learning on the production floor while also completing off-the-job training. The exact minimum duration and off-the-job training requirements are subject to ongoing changes under current government reforms, so check the latest specification on the Institute for Apprenticeships and Technical Education page at gov.uk before planning delivery.
Before sitting end-point assessment, the apprentice must pass through a gateway, where the employer and training provider confirm the apprentice has met all knowledge, skills, and behaviour requirements. Assessment methods for many standards are being updated as part of Skills England reforms, so the precise format may change. Check the current assessment plan on gov.uk for up-to-date details. The core requirement is that the apprentice can demonstrate competent, safe operation and maintenance of automation systems in a real production environment.
The funding band for this standard is £17,000, which is the maximum government contribution toward training and assessment costs. Larger employers with a levy account use those funds directly. SMEs that do not pay the levy typically contribute 5% of training costs, with government covering the rest, though this co-investment rate is also under review. Employers taking on an apprentice aged 16 to 18 who have fewer than 50 employees pay nothing toward training costs. Additional incentive payments may also apply; check current rates on gov.uk.
Day-to-day work covers programming and operating automation control systems for scenery movements during fit-ups, rehearsals, and live performances. The technician carries out planned maintenance and first-line repairs on equipment such as winches, hoists, stage elevators, revolves, and hydraulic drives, and keeps detailed maintenance logs. They read technical drawings, inspect equipment for compliance with LOLER and PUWER, and liaise with lighting, sound, stage management, and design departments to make sure automated scenic movements match the production's requirements safely and precisely.
Completers typically move into roles such as automation operator, automation technician, stage engineer, or flys technician. With experience, progression into senior technician or head of automation positions is common. Some move into physical special effects or theatre maintenance roles. Further development can include higher-level qualifications in engineering or production management, and some technicians move toward supervisory or production management careers across theatre, live events, TV, and film production.
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Curated by Alex Lockey, FATP founder and editor. Last reviewed: .
Sources include the apprenticeship's official specification on apprenticeships.gov.uk, Skills England guidance, IfATE archive records, DWP funding bands, and provider data sourced directly from the public Apprenticeship Provider and Assessment Register (APAR). Standard reference: 761.
Some sections on this page were drafted with AI assistance from published source data and reviewed by a human editor before publication. See our editorial methodology for how we maintain this content. Spotted something out of date? Tell us.