Many believe that in the early days of theatre it was mostly sailors who functioned as stagehands and riggers. While they were on shore leave, or once they were retired. The legends go that in London, for example, there were even underground passages leading directly from the docks to the big theatre venues in town. The sailors ran from the ship to there, did their duties in the theatre, got drunk after, and went back to their ships in the early morning.
We learn so many things from the people in our lives. Perhaps even without realizing it until the universe seems fit to bash you in the head with it repeatedly until you actually decide to acknowledge it. So this is the insight I have gained in my many musings from a recent universe smack down.
While many stage professionals are still concerned about the lack of work during the pandemic, we heard of some optimistic news that some countries have a step-by-step plan to open up the economy. Why not take this time to review the protective equipment and prepare yourself to get back to the stage? [Probably, it is on sale during this strange time]
Finally, the conclusion of my ranting opinions on making a successful performance and creation.
Part 3 – Validations to Shows: Where we confirm that everyone knows what’s up and finalize it into something that everyone can do safely, confidently and repeatedly.
A Rigger’s Guide Part 2 – Rescue Plans to Rehearsals: Where we finalize our concepts, cover all our bases and begin to build segments of a production.
In the Great Show Pause of 2020 that we are all experiencing to various degrees, I have found it difficult recently to not reminisce on the shows that we’ve created together, and, looking to a future in awesomeness, I return to writing. So here, as prior promised, is one Acrobatic Rigger’s insight on show creation in three parts.
At any kind of live show or event, while performers shine on stage and get a great deal of audience attention, there are many hardworking event staff backstage or in the hall working to make the production happen. As a Gold Supporter of Event Safety Alliance (ESA), and leading staging company in North America for 40 years, we, at Mountain Productions, understand the importance of stage safety. Therefore, we would like to share some important workplace safety basics with those who are new to this industry.
Working for the entertainment rigging company enables me to listen to many interesting and inspirational stories from stagehands and theatre technicians. Their first-hand experiences usually show that the industry should have done more to create a safer and better working atmosphere that encourages all enthusiastic people to enter the industry.
Setting a good anchor is the most important part of any rope access or fall protection system. There are many ways to make an anchor and here’s a few of the ways that I like to take out into the field, along with the most common gear to make these systems. Most of my time at height is spent using non-certified anchors on structural I beams doing a variety of things from installing banners, motors, blackout curtains or applying a fresh coat of paint. Accessing these areas can be tricky and certainly takes a certain skill and aptitude along with the proper training, equipment and supervision.
It somehow always starts like this. I’m venturing out of my theater bubble and into the real world. I’m attempting to have real-world conversations with real-world peoples at coffee shops, or waiting in line a the grocery store. It start’s off innocent, then at some point I happen to mention being abroad:
A lot of people use carabiners in the entertainement industry. But do you know how to verify if a carabiner is good to use? And if you are using them, do you know how to ensure that you are using them correctly? Here are a few basic tips on verifying the rating on your carabiner and in what situations you would use an oval frame over a D-Frame.
There’s been a few big accidents in entertainment recently, most notably a well experienced rigger took a 60ft fall at Coachella and didn’t survive. I read that he was a father of two daughters, amongst other less important things. As riggers, we get into potentially dangerous situations, however, those situations aren’t dangerous if you take the personal responsibility to keep yourself safe.
I’m headed on a rope access job in a stadium and putting together my gear. Stadiums are a fun climb and a great workout. Lots of stairs and a lot of trips up and down a rope. There’s a lot of risk with stadiums because you’re forced to make a lot of decisions that may have some big implications on your overall quality of life.
2018 has been an exciting year from TheatreArtLife! We now have 120 contributors, all live entertainment and theatre professionals working around the globe who write articles for us each month who share their journey, advice, wisdom, and experiences from the industry. We are so grateful for our staff of volunteers who run our website and […]
TheatreArtLife has connected with a number of Entertainment Riggers across the globe to bring you their stories, experience and advice on the very crucial roles and responsibilities Riggers hold in today’s industry. Trevor Whipkey joins us as a TheatreArtLife Contributor and begins his article collection by sharing his fascinating journey into the rigging industry.
TheatreArtLife has connected with a number of Entertainment Riggers across the globe to bring you their stories, experience and advice on the very crucial roles and responsibilities Riggers hold in today’s industry. Tora La Rosa is currently based in Montreal but this woman is truly a global rigger, having taken projects in some of the most toughest places in the world.
TheatreArtLife has connected with a number of Entertainment Riggers across the globe to bring you their stories, experience and advice on the very crucial roles and responsibilities Riggers hold in today’s industry. Brett Copes is based in the Greater Atlanta Area and is a Rigging Specialist.
TheatreArtLife has connected with a number of Entertainment Riggers across the globe to bring you their stories, experience and advice on the very crucial roles and responsibilities Riggers hold in today’s industry. Andrew Mudie is based in Lancaster, Pennsylvania and works for TAIT.
Like many others in the industry, I happened upon Rigging by chance. After stumbling into a theater in Detroit, I had a conversation with the owner that was building a call list for an outdoor roof build. It was Metallica’s Summer Sanitarium Tour, 2004. I agreed to work it, found that I loved it. 2 weeks later, I was chasing roof builds across the country.
Two months ago, I quit my job. After just over eight years with the company, I walked out with my head held high. I didn’t just have a job, I had a great job. It was a position in the theatrical entertainment industry that I had always aimed and one that I sacrificed for, for years, while following the corporate ladder, every step of the way. When I was offered and finally accepted the opportunity to be Head of Automation, I found myself in an extremely difficult and precarious position.
As an automation guy, the link between my job and rigging seems very obvious. I fly scenery and/or people above other people’s heads all of the time. So I recently decided to add some extra knowledge and got myself on one of UK Rigging’s basic rigging courses.
Why exactly do efficient, knowledgeable, long-term employees leave their jobs? Is it due to bad management, pay, policies, or something else? These are great questions, however, even though this is an extremely important topic, this is not the scope of this article, but it is likely that most of you reading this will have read some sort of literature on this exact subject in either a magazine, newspaper or social media over the past few months.
