Amateur Get-in's Guide

[Fleeting]

Hi,

I work in a local council run arts complex. When the Amateur operatic societys do a get in on a sunday it is a free-for-all. Does anyone know of a guide/ regulations for the said action. As the sets are hired in and sometime's only arrive in a truck with driver, there is a significant risk. I have a generic risk assesment and they have to sign a competence register to say that they are competent (perhaps to strong a word) for scenery moving/ flying etc. I have read the ABTT guide to scenery, which goes some way but not as a complete guide.

Is there such a beast or do I have to write a guide to get-ins?

 

Thank you in advance

 

Fleeting.

[Andrew C]

Hi,

  I work in a local council run arts complex. When the Amateur operatic societys do a get in on a sunday it is a free-for-all. Does anyone know of a guide/ regulations for the said action. As the sets are hired in and sometime's only arrive in a truck with driver, there is a significant risk. I have a generic risk assesment and they have to sign a competence register to say that they are competent (perhaps to strong a word) for scenery moving/ flying etc. I have read the ABTT guide to scenery, which goes some way but not as a complete guide. 

  Is there such a beast or do I have to write a guide to get-ins?

 

Thank you in advance

 

Fleeting.

<{POST_SNAPBACK}>

 

I'd be inclined to write my own, as your local conditions will affect many aspects of the task. Do you insist on your own flyman, are there slippery steps, orchestra pit rails etc. By all means base it on a) your generic RA & b) any other generic document you can find.

[Fleeting]

Hi,

We do not insist on our own flyman (we don't have one a such just 4 multi-purpose technicians), this worries me as we are a hemp house. We only supply a lx/sx op if needed. While the show is running there is one of use side of stage as a "safety officer", to drop safety curtain and keep a eye on what's happening.

 

Fleeting

[gareth]

What about organising some training and familiarisation sessions for the amdrams? These would be compulsory for anyone wishing to work on the technical side of the get-in.

 

You could have a "basic get-in skills and safety awareness" sort of session, perhaps one entire evening or Sunday, which would be essential for anyone who intends to work on the get-in - no attendance at session, no access to stage on get-in day. Nothing too fancy, just the basics - how to lift, how to tie a couple of simple but useful knots, basic safety procedures, communication from stage to fly floor, the correct way to run a flat, etc.

 

Then you could run another training/safety session specifically for hemp flying - again, no attendance at training, no access to fly floor. Same for electrics, sound, etc.

 

That way, you at least have some kind of reassurance that the people working the get-in should have some sort of a clue about what they're doing, and you also get to control the number of people who are helping (too many cooks, etc.).

[andy_s]

it strikes me that what you're up against have (as well as a skills deficit) is a lack of organisation. Ideally there should be someone from the Operatic who is running the get in and takes responsibility for their crew, and then you as resident crew have one person as a point of contact to discuss any issues, whether they are safety-related, scheduling or anything else. Sounds like a case of "Too many Chiefs, not enough Indians" to me.

 

Unfortunately, I don't think there is a "guide" as such, but you may try pointing them in the direction of various books on "how to do Stage Management". I don't know whether NODA offer any help to amateur technical staff - I believe many societies are affiliated., so it might be worth a look.

 

Doing risk assesments and insisting on competency is of course a good thing, but could turn into a double-edged sword, as you might find that you're the only competent person, and have to do all the work...

[Solstace]

I'd suggest that if the society has a dedicated production manager, then (s)he would be the best person to organise their side of things on the get-ins/outs. If said PM is moonlighting from another day-job within the industry, all the better for you (and the society).

 

If I recall, this could then shift the liablity of any injury claims from you (as the venue) to their PM, which could also be a bonus.

 

Amateurs and pro-venues can be done!!! The production crew from the last am-dram group I worked with were the best crew I've yet encountered, either in or outside technician-land. They were organised, clued-up and even had a trained fly-man - working with hemps!! The one rule was that only production crew (and those of us pro's brought in from outside) could do the get in/out. Saved many sore heads and frayed tempers!

 

HTH...

[Fleeting]

What about organising some training and familiarisation sessions for the amdrams? These would be compulsory for anyone wishing to work on the technical side of the get-in.

 

We have 14 one week run's by different amateur operatic society's all with there own "tech" crew. This year we also have 72 performances by 52 dance schools mostly with secnery/flying. and that's not counting the pro shows, lectures etc. Trying to get people together for even a evenings training is nie on impossible. We have 11 days this year when there is nothing on as we cover theatre, studio and art gallery with 4 technical staff including myself.

It's the managment looking at profit before anything else. Isn't that the way of the world.

 

You could have a "basic get-in skills and safety awareness" sort of session, perhaps one entire evening or Sunday, which would be essential for anyone who intends to work on the get-in - no attendance at session, no access to stage on get-in day

 

On the usual get in day, the show gets'in from 9am. Tech rehearsal as soon as the set is up then a dress rehearsal in the evening ( lighting and sound is usually a after thought). Most of the society's come mob handed to get the job done. I did a get out a few months ago when un-tieing clothes there was a person per tie. They usually do have a nominated person as a technical director ( for want of a better title)from the society's, they have the same problem as us when it comes to get-ins no total control over what is happening working with a set they have only seen pics of. This has been the norm for the last 12 years with the previous tech manager, I'm trying to change things but when you come up against the usual "I've been doing this for the last 40 years etc" it becomes a little difficult.

Most council run venue's are probably in the same situation, a accident waiting to happen, there is only so much risk assesment, method statment you can do. Our Health and Safety advisery team tend to only get involved when there is a reportable accident or near miss ( not that we have had many, more luck than anything else). If they took more of a interest in what happens in the theatre, I would spend all my time doing paperwork rather than trying to impliment safe working. Or close the place.

 

Rant over, I need coffee

 

Fleeting...

[pumphouse]

I see this from two sides of the fence.

 

I am Technical Director of a small arts centre (voluntary role) which is council owned but run by an independent trust with no funding. We have only part time staff for caretaking, cleaning and book-keeping - no technicians.

 

I have to ensure that what goes on is safe, but I can't be there all the time. Some shows scare me as people just don't know what is required. Others are done by competent, experienced amateurs who give me no trouble.

 

We developed a Hirer's guide for the Theatre, which details not only facilities, but also safe working practices and safety/legislative requirements that we require. This is issued to all external hirers, then at least they can't say they didn't know. I then police by overview mainly - checking that what they have done is safe. I have made students take down the loudspeakers they had put up with Gaffer tape before.

 

If I am concerned about their competence, I arrange for myself or someone else I trust to supervise the work, or we don't let them in.

 

I have also worked on amateur crew in several venues. Many of the crew I work with are experienced and knowledgeable, although they may not be up to speed with latest requirements ('doing it 40 years' syndrome). Some venues allow a fairly free rein, some restrict certain activities (like flying, especially counterweight loading/unloading), some insist on their own crew (and charge accordingly). Most appreciate competence and relax requirements when they become comfortable with us.

 

There is a balance to be found, but you should certainly make sure that you have advised the visiting company of the requirements, and ensure they sign up to them. Having them appoint a production or get-in manager is also a good idea. Some venues require specific risk assessments from the groups.

 

If the worst happens, you will need to demonstrate that you did what was 'reasonably practical' to avoid the incident. In H&S law, after an accident you are guilty until proven innocent!

[Piers Shepperd]

You can't beat doing a site induction. This is done on major shows to familiarise new crew with the site way of working, and point out the major hazards to be aware of.

Inductions can be done in half an hour, but I find this a far better way to tell people about the safety aspects rather then keeping it all paper based.

Most people sign paper forms without really caring about what they are signing. Talk to them for half an hour in an engaging way, and they at least know the ground rules for your venue.

 

Cheers,

 

Piers

[mac.calder]

Where I am currently, EVERYONE who walks onto the set is required to do an induction and sign off on a number of forms indicating they know all the guidelines. - Everything from "If the scaff tower is dismantled, our technition is the only one allowed to put it back up" to "No smoke machines" and "At least one other person in the space at all times".

 

Takes 1/2 an hour.

 

Also make sure they submit a list or plot of everything they plan to do, then go through it and say "Yes, No, Yes, No" - and indicate to them what they can do without one of your techs there and what they can't.

[paulears]

The snag as I see it is that for some venues, the amateur weeks are the best selling weeks, but also the most inconvenient from the house crew perspective.

 

As far as the amateur group members are concerned, theatre is fun - on or off-stage. Rules are things that get in the way of fun. H&S is something that other people worry about. The ONLY thing important is what the show looks like to the audience.

 

Venues differ in how they treat the amateurs. Some, treat them as an unnecessary intrusion into their carefullyordered professional life, that no amount of moaning about is going to change. Others attempt to help and 'educate' them as best they can. Management see the income only, and leave dealing with the actual group to the crew, who pull their hair out.

 

The practicalities are that training the amateur get-in crewis a good idea, but the only ones identified early enough are the ones you trained last time - the problematic people get picked in the pub the night before and if the organisers deem them reliable enough to turn up every night (or simply so poor a singer/actor/dancer that they daren't be put on-stage) these bods turn up, and it's them that make life a misery.

 

I suspect the solution is to grin and put up with it. Try not to moan at them too much, treat them like adult kids.

 

I had a one nighter once, organised by a religeous group. The rider was very odd. 3 artics (sound, lx, scenery) NO local crew required, just one lx, one sound. Show time 7.30, arrival 3pm? I queried this and was told that the organisation would be providing their own get-in/out crew. Our theatre is on the end of a pier, requiring a 200m run between the unloading point and the theatre - we normally increase rider crew requirements by 50% at our expense.

 

The trucks arrived. The crew turned out to be ladies and older gentlemen from local churches seconded. An ali tool box was a bit of a challenge, being taken down the pier by TWO ladies. To my shame, the get-in degenerated into a shouting match with the 'leader' who had no idea whatsoever that the contents of the trucks would not be in and up by show time unless we got some real crew. We did some frantic phoning and got a proper crew (by luck) for get-in only. I'm still ashamed of telling the the man attempting to fig-8 the multi at 4am to F off! As expected, most people went home at midnight leaving just me and the sound op to show these people how to put away the things that they hadn't even bothered to watch how we did it. I don't normally lose it - but I was about to head butt the wall!

 

As for telling the man to F off? His reply was GOD BLESS YOU!

 

Nothing could ever be so bad as that one - Makes amateur groups very welcome!