Des Moines Metro Opera Workers Expose Harsh Hours, Low Pay, and Safety Risks Behind the Curtain

Behind the polished performances and critical acclaim, the Des Moines Metro Opera conceals a story of grueling hours, inadequate pay, and dangerous working conditions. For many apprentices, interns, and backstage staff, the reality of working for one of the nation’s top opera companies is far from glamorous. Their accounts reveal the hidden cost of prestige: an exhausting cycle of overwork, underpayment, and unsafe environments that push human limits for the sake of art.

While the company has earned national praise for its artistic excellence and over fifty years of productions, the reputation hides an unsettling reality. Behind the curtain, workers describe long schedules that push well beyond what’s safe or sustainable. The opera’s image as a cultural beacon masks practices that many say amount to exploitation of those who make the performances possible.

One of the most striking issues is the workweek itself. Apprentices and interns regularly report schedules that stretch to nearly ninety hours, with shifts that blur the line between day and night. For individuals still in training, eager to prove themselves in the competitive arts world, the workload is not just demanding—it’s overwhelming. Burnout is common, and many describe feeling physically and mentally broken down by the season’s end. This relentless pace has made “opera worker burnout” a reality that few outsiders see.

The pay structure compounds the problem. Many workers receive just $75 a day, a rate that falls drastically below industry standards and fails to cover even basic living expenses. For young artists and stagehands, the financial strain becomes unsustainable, forcing some to take on debt or additional jobs just to make ends meet. The promise of professional opportunity clashes with the harsh reality of survival on wages that undervalue their contribution.

Safety risks add another layer of concern. Reports of concussions, falls into orchestra pits, and accidents on stage paint a troubling picture of an environment where hazards are downplayed in the rush to deliver a flawless show. The combination of exhaustion, limited resources, and pressure to perform creates conditions ripe for dangerous mistakes. Workers argue that these “opera safety violations” show a disregard for basic workplace protections that would not be tolerated in other industries.

Beyond the physical demands, the emotional toll is significant. Many describe feelings of isolation, mental exhaustion, and deteriorating well-being after weeks of relentless labor. The combination of extreme schedules and financial insecurity has left lasting scars, with some questioning whether they can continue pursuing careers in the performing arts at all. What should be a stepping stone to professional growth too often becomes an experience of exploitation.

In response, workers are beginning to call for reform. Collective bargaining and unionization have emerged as potential solutions, with advocates pointing to examples from other arts institutions where labor organizing has secured safer conditions and fairer pay. The Williamstown Theatre Festival, for instance, faced similar criticism and has since adopted reforms that could serve as a model. Opera employees are increasingly aware that without systemic change, the cycle of overwork and underpayment will continue.

The larger arts sector is also watching closely. Across theaters, orchestras, and festivals, there is growing recognition that sustainability depends not just on artistic output but on the well-being of the people who make it possible. Nonprofits that rely on prestige and donor funding cannot continue to overlook the basic rights of their workers. A shift toward sustainable labor practices is no longer optional; it is critical for the future of the performing arts.

The case of the Des Moines Metro Opera may represent a turning point. The call for accountability is louder than ever, and the pressure for change is mounting. At stake is not only the reputation of one opera company but also the ethical foundation of the entire industry. If the arts are to remain a source of cultural pride and inspiration, they must also be a place where workers are valued, protected, and fairly compensated.

For opera companies nationwide, the message is clear: the grandeur of the stage cannot be built on the exploitation of those behind it. Change is overdue, and the future of the art form depends on ensuring that ambition does not come at the cost of human dignity.