Keeping shows running reliably

[Harry64]

Hello all,

I'm a software developer by trade, and an often underlooked aspect of it is designing for reliability. While my industry is gradually maturing in that regard, I'm quite interested in what the relaibility challenges are in professional theatre and how they're managed. There's so much that goes into each performance that can go wrong, and the costs of cancelling a show are significant, so reliability must be absolutely crucial.

I'd love to hear from stage managers, backstage crew, and other roles I'm unware of, of what processes you follow to ensure every show runs smoothly, and how you recover from unexpected problems.

For example:

• Cast redundancy. How do you ensure you've always got a full cast? I'm loosely aware of "the half" that everyone has to be signed in by, and that understudies and swings exist, but I'd like to know more about these processes.
• Sound/Lighting technical failures. How do you minimise the risk of the various possible failures here? e.g. Backup mics on lead cast members, testing all equipment each day, etc?
• Onstage mishap: broken props, lost props, forgotten lines, objects falling off the stage. Is it just up to cast members to think on their feet, when would a stage manager typically step in?
• Show automation: How are the automation pieces tested, how often are they rehearsed, how do you handle a failure?
• The unexpected

In the last three years I've witnessed four different show-stops in West End musicals. Half the time, the stage manager is on stage addressing the audience before anyone realises something has gone wrong. It certainly seems like the process for interrupting a performance is well understood, and that the stage manager is the final authority on when and how the show is run, but I'd love to better understand the stage manager's role in this, and if there's a common strategy for handling show-stops. Also, just how common are show stops - I've had amost 10% of the shows I've seen in the last 4 years interrupted by one.

Since I'm asking about a topic I know fairly little about, I'm sure there's a lot I don't know or haven't thought to ask about. So it'd be good to get an overview of what a typical day or week looks like, in terms of checking everything is working, checking all required props are accounted for, and what proactive maintenance is needed.

Please do share as much detail as you're able to. I've not touched the technical side of theatre since my school days, but it's always been a passion.

Thanks,
Harry

[kerry davies]

There are literally thousands of websites which aim to answer the single question; "What does a theatre production manager do" but you could start HERE. That site should answer a surface scattering of your queries and take less than a month but for each of your questions there are dozens of books which themselves don't answer everything. Obviously it starts with a vision and the combination of skills (design, construction etc) that realise that vision in a safe, practicable and repeatable form. 

Just to say that I have retired a while now and in my entire career had to call only one single "show-stop" and even that one we salvaged, to some extent, by moving venues. Otherwise built-in redundancy and constant checking and 101% flexibility in approach helps a lot. I also kept telling younger members of the crew that only we knew what was supposed to be happening, the audience do not get a script, so we could get away with murder as long as we didn't splash the punters in gore.

Try breaking it down and asking questions a little less "Life, The Universe and Everything" or someone will answer; "42".

[sunray]

15 minutes ago, kerry davies said:

...I also kept telling younger members of the crew that only we knew what was supposed to be happening, the audience do not get a script, so we could get away with murder as long as we didn't splash the punters in gore...

One amdram panto I teched for which was loosly based on bits from Shakspeare plays I faded up Juliettes mic for the balcony scene and the classic 'Romeo' words started with no sign of her, a big chunk of the scene was done from her dressing room while she held the broken door knob in her hand, Romeo did some brilliant adlibbing without knowing what was happening, another actor 'in the know' came on stage and holding a boquet started an 'Alas poor juliette I knew her well' speech to which Romeo responded the classic line featured in every panto...

[TomHoward]

Not a comprehensive answer at all on my part but a huge amount of pressure is placed on pre-show checks. Labelled props tables laid out like a tool bench with everything having a place so you can see at a glance what's missing, written lists with whose job it is to check that particular element, either is working, rebatteried or in place (often in a drawer on stage, or in the pocket of a costume, so not seen), and someone checking that the first person has checked what they're supposed to check. And ideally documentation and labelling, so that if one crew member is missing, someone uninformed and step into their role and follow the instructions.

[sunray]

1 hour ago, TomHoward said:

Not a comprehensive answer at all on my part but a huge amount of pressure is placed on pre-show checks. Labelled props tables laid out like a tool bench with everything having a place so you can see at a glance what's missing, written lists with whose job it is to check that particular element, either is working, rebatteried or in place (often in a drawer on stage, or in the pocket of a costume, so not seen), and someone checking that the first person has checked what they're supposed to check. And ideally documentation and labelling, so that if one crew member is missing, someone uninformed and step into their role and follow the instructions.

Oh how differents in pro shows, I'm used to "Did sally remember to bring her frying pan tonight"? For frying pan insert 'shopping trolly, green coat, dog, table lamp, lighting desk or any other item as required for each show.🙄😒

[alistermorton]

2 hours ago, sunray said:

Oh how differents in pro shows

That's more or less what we do, though, and we're a volunteer run/amateur theatre.

Props tables taped out into areas where each prop goes, labelled what should be where and where in the show it's required; check lists for sound, lighting, video to run through before hand with rig check cues; check lists for the ASM, checks on the revolve if it's being used, checklist for any set pieces which are to be changed between scenes, and sign in lists for all the cast and crew and contact details for stand-ins. Where necessary spotters for pyro, armourer in the wings, that sort of thing. We've had to call halts a few times, but at least once was due to a Windows fault that caused it to suddenly update (so we lost sound), even though its schedule was set to strictly avoid performance times and it wasn't even connected to the internet. We solved that problem by switching to Qlab on mac by the next show.

[sunray]

5 hours ago, alistermorton said:

That's more or less what we do, though, and we're a volunteer run/amateur theatre.

Props tables taped out into areas where each prop goes, labelled what should be where and where in the show it's required; check lists for sound, lighting, video to run through before hand with rig check cues; check lists for the ASM, checks on the revolve if it's being used, checklist for any set pieces which are to be changed between scenes, and sign in lists for all the cast and crew and contact details for stand-ins. Where necessary spotters for pyro, armourer in the wings, that sort of thing. We've had to call halts a few times, but at least once was due to a Windows fault that caused it to suddenly update (so we lost sound), even though its schedule was set to strictly avoid performance times and it wasn't even connected to the internet. We solved that problem by switching to Qlab on mac by the next show.

With one group my first involvement was about 3 days before the show when I provided the dry hire sound system at their dress rehearsal. One of their tech's was seriously ill and the other suddenly decided he was too old to tech on his own and pulled out.

Suddenly I was the tech for the show and discovered there had been no tech planning and this was the first rehearsal on the stage. They didn't know the 9 lights needed to be focussed (the control being a row of domestic 1G switch plates) and the sound effects hadn't been planned or prepped. They did one show about every 8 to 10 months, I helped for several years and think I can claim they improved due to my help  and additional lighting, one of their sons is an electrician and helped with inproving on the elderly twisted twin flex lighting circuits (also thanks to DRV for donation of kit and assistance with aquiring a 48ch light desk which got one of their members learning to program the light scenes).

However the props😕🤔  they never could get that organised and a quick scene change was out of the question.

Sadly they were a group of elderly people with losses during the covid period and never restarted.

 

They were the worst of the 4 groups I had involvement with (All 4 closed due to or during covid) but to some extent not atypical across them, however these were all small groups and never any spare bodies to have things like someone in charge of props during shows.

 

Another local panto, for which I only provide show relay into dressing rooms, has whole families involved and never seems to struggle with bodies but no-one can work out how they keep the interest going, they do nothing other than the 4 show run a month after Christmas.

[Robin D]

In being in the audience for what must be hundreds of shows, I have only ever witnessed one show stop I can remember. 

As volunteer tech in schools environment I have called two. One where a real glass decanter was left on a desk on set that then got moved and it fell on the floor in a million pieces. (Might be a small exaggeration 😉 but you get the picture.) The kids were on stage in bare feet (against my advice) and the teacher in charge did not stop the show so I did. The second was when we lost all power to the grid and dimmers. Another teacher wanted to get some torches and carry on! I preferred to find the problem and fix it. (A trip on one phase of the main incomer had dropped for what seems like no apparent reason). All the lighting was on the same phase. Found out later it was the same phase as all the none-3-phase equipment in the kitchen further down the corridor! Got that sorted before the next set of shows, but the water boilers and kettles for refreshments for that evening were turned off so we could proceed. They were finding all the kettles they could and boiling them in another part of the school that evening. 

[Stuart91]

Similarly, I've had one show stop for a complete loss of power. (A JCB had cut through the feed to the entire site) That was resumed shortly afterwards, with a very basic PA and some rudimentary lighting lashed up to generator that we sat outside the fire exit. 

(This was a conference rather than a theatrical show, the punters were content enough to wait in the dark for a five or ten minutes while we ransacked the site for contingencies)

 

Had another recently where one of the three incoming phases blew the main (100amp) fuse. Like Robin, it was catering equipment that was making up most of the load, but all of the control equipment for the show happened to be on that phase too, so everything came to a grinding halt. 

[Junior8]

The OP must be unique in witnessing four show stops. I've only ever witnessed one back at the Wythenshaw Forum in 1974 and that wasn't really a show stop but I knew that a filmed insert had failed and there was a bit of a hiatus. In reality the answer to the OP is simple nothing in the theatre is relied on until has been tested and proved possible be that a lighting cue - in the old days you had to have time with two preset controls - or bit of business or the setting of a scene change.  Then you do what your job is and you don't interfere with anything. Tom really gets to the nub of it in his post above. If a piece of kit breaks down in modern high-tech shows then maybe some kind of break is inevitable but aside from that the basics of planning and discipline are what keeps things running. Reliability is down to having  reliable people - or that's how I've always seen things. The only time I ever let myself down was on a dire Numerical Call-up Control (it may have been a Colortran) through rushing and not checking something properly.

Edited January 10 by Junior8

[Robin D]

Forgot to say that the one professional one I saw was when the brought an electric piano on stage during the interval. When it was fdies to be used later in the act it didn't work. The SM called a stop, it was wheeled off, back on a couple of minutes later when it worked just fine. As it clearly was not plugged into a socket, I assumed they had an issue with the on-board power pack, but nothing was said apart from apologies. 

I guess I fibbed as I was also in The Wolsey some years ago when the fire alarm went off and were quickly told to evacuate. The fire brigade were there before everyone had exited. Quickly told it was a false alarm and allowed back in. 

Coming back to the OP's question, you can have contingency plans for just about anything, but even given people who can think on their feet, you cannot legislate against the unforseeable. It's how you react to those situations that separates the experienced from those that just go into a panic. 

Edited January 10 by Robin D

[sunray]

the biggest factor in any public event: 

48 minutes ago, Junior8 said:

... is having  reliable people -

to manage all eventualities, the good, the bad and sometimes the downright bloody ugly situations.

Most of the time the public aren't even aware of things that go wrong.

 

Years ago I took my girlfriend to see time and the part where the stage moved to vertical went wrong, it started lifting but the platform which was supposed to remain horizontal for Cliff to stand on didn't, He simply held on with one hand and the lifting stage was stopped at something like 45 degrees. He completed the song holding on but laying against the slope. I had no idea there had been a problem until chatting with a friend later and then comparing with the photos in the program.

I did see another show where lots of things seemed to go wrong: a mezzanine area colapsed, a floorboard was loose and someone put their foot on it making it seesaw upwards, a fireplace collapsed, picture fell off the wall... If I recall it was called the play that went... oh dear I don't recall the last word😁

[sandall]

1 hour ago, sunray said:

it started lifting but the platform which was supposed to remain horizontal for Cliff to stand on didn't, He simply held on with one hand and the lifting stage was stopped at something like 45 degrees. He completed the song holding on but laying against the slope.

Could have been a scene from one of Michael Green's "Course Acting" shows.

Edited January 10 by sandall

[paulears]

You have also got to factor in that job titles and roles are flexible. For example, it's the last day today of an end to end ten weeks for me. The production manager saw the show into the building and with the stage carpenter - the set and kit of all kind is installed. The will be a production sound and a production lighting person, and lighting designer and assistant/programmer, and a sound designer and the two outside sound people - in our case, from Orbital. We have a Director and ass Choreographer looking after the ensemble, the musical director and 5 musicians. The house provide the lighting board operators and two follow spots and we have 3 wardrobe working for crossroads, plus some dressers from the house - we have 5 stage crew and a couple of stage LX from the house, who also supply two for flys. I'm Company Manager - Crossroads person here. I have a DSM - who calls the show and two ASMs - one 'technical' and the other 'book cover'. This year we also have 4 acromaniacs - who work for a separate company contracted to crossroads.

First week sees me looking after rehearsals while the Production Manager sorts the stage, then we parallel, then they go and I look after everyone - which includes looking after the two orbital sound guys and the acromaniacs. 

Roles are quite clearly defined. The DSM runs the show, and I do not interfere unless something happens and that's when I might say - get the show cloth in, find me a mic, and I would explain a show stop or something. It would be me who (to use a real one) steps over a feinted Cinderella in the wings - calls for wardrobe to grab the understudy (one of the ensemble) gets her into the costume, and lets the audience know what has happened and restart. Here, that's my call as Company Manager. If a show had to be cancelled, then it's a negotiation with the venue. Perhaps we could limp through with somebody reading in from a script, but maybe we would have to cancel. Contractually, it is better for the venue to say we should cancel, rather than me suggest it - one option is cheaper! A bad show is preferable for me to no show.

At another theatre, I could be technical manager, or production manager and have similar responsibilities. Production income often sets cast and crew complement, and with it roles. If you do things like we have just done - Peter Pan - then one of the ASMs will be in charge, Not just operating, but doing daily and weekly safety checks. Not every ASM is comfortable doing this, so sometimes, it falls to me to sign off what they cannot.

Props can be provided or purchased locally if budget allows. Again, not all ASMs are proppy. If you engage a fight director to make swords exciting and safe, somebody monitors that for slippage. Last year we had 8 dwarfs, with one spare. A new thing but actually very useful. Boring for the spare - but in my case, I decided he could rotate with others to give everybody a break.

Over the years it's also my role to fire people. 20 years and I have lost 3. A part of the job I hate. My role also includes endless paperwork, and organising things like marketing opportunities, cast visits, and dealing with endless kids - plus nowadays, looking after the special we do for people with additional needs, typically those who have issues with sight or hearing and of course now the kids who find theatre too stimulating, and we do relaxed performance, nicer for them with less stress.

Payroll, petty cash, house crew hours,  show reports, chargebacks and ticket sales and even PRS are part of my job. When shows go perfectly, I theoretically have little to do. That doesn't happen that much. 

[IRW]

6 hours ago, paulears said:

If you engage a fight director to make swords exciting and safe, somebody monitors that for slippage.

Last year we had 8 dwarfs, with one spare. A new thing but actually very useful.

I hope those two points weren't linked!!