Stacey Stamboulidis started her career in the audio industry, in the late 70s. A Greek woman who was expected to follow a different career path, especially considering the pressures put upon women in the 70s. She is self-taught with the assistance of some great mentors along the way, in particular the great Howard Page.
What Led You To Your Current Career?
Back in the 70s, I was a student at the then-famous college, Alexander Mackie College Of The Arts. I majored in a subject that combined visual and audio in an artistic manner – super 8 films, multi-slide productions, first-ever synthesizers, and a myriad of extensive different sources, with many collaborations with overseas visiting groups. For those who are old enough, Alien Ant Farm being one. That’s where my passion of all things audio come from.
Describe The Work You Do
Since the 70s, I have designed theatrical productions. I have operated complex FOH set ups, as well as on stage monitors, but predominantly FOH. I was Technical Manager on stage for SSO and Opera Australia at the Domain for a number of years, predominantly looking after orchestral set ups. Technical support for events, in every genre, basically whatever it takes to assist in producing the best outcome for all concerned.
What Are The Good Things About Your Job?
I have been fortunate to have worked in just about every form of live audio engineering, from large-scale musicals to opera, classical, contemporary, jazz, rock, and experimental. I have a passion for working with instruments that are not considered traditional and working with the great musicians who use them. It’s also inspirational when you are working with a great crew who all have the same goal, and then patting each other on the back to say, “Job well done” and then it’s off for a collective drink.
What Are The Worst Things About Your Job?
Working with someone who thinks the production is all about themselves, arrogant cowboys with excessive egos. Technical issues, which are completely out of your control.
What Has So Far Been Career Highlight?
That is a difficult one to answer. I have loved doing FOH for certain Opera Australia musicals, and large-scale musicals, as well as working with many amazing overseas and Australian artists. Perhaps the most rewarding and demanding highlight was touring as Head Of Audio internationally, for the Cirque du Soleil, production of ‘Alegria’. Implementing a 15-zoned source audio installation in a big top that seated 1800, identically in each different location/city was challenging indeed.
What Is The Most Blatant Form Of Sexism You Have Experienced In Your Career?
Well, I could write a few pages on this, as there were some pretty ugly times. I was working with a band that was supporting a very well-known and famous Aussie band. Their engineer told me if I did not act on giving him sexual favours, I could not touch the equalisation on the console and I could have access to half the inputs required to do audio for the band I was working for. This incident was not a one-off. Consistent, demeaning, sexual innuendos, bullying, and harassment, were an ugly part of the industry.
What Advice Would You Give A Woman Thinking Of Starting A Career In The Industry?
Although we have moved forward in the industry, every woman has the right to follow a career in this industry without harassment, bullying, and all the ugly scenarios that accompany this. Unfortunately, it still exists, and you have the right to speak up and say it is not acceptable, you do not have to put up with this in order to keep your job. You also have the right if you are being overlooked to speak out. None of this behaviour is acceptable in any way and the bottom line is you do not have to tolerate it.
