Print Page | Close Window

Safety Backstage

Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Other Topics
Forum Discription: For everything else
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=1871
Printed Date: 11/23/24 at 2:51pm
Software Version: Web Wiz Forums 8.05 - http://www.webwizforums.com


Topic: Safety Backstage
Posted By: k8tt
Subject: Safety Backstage
Date Posted: 6/01/06 at 11:13am
During our Dress Rehearsal last night one of our older cast members fell coming off stage when the lighting tech went to blackout too early.  We were lucky she didn't really break a leg!  I was standing right there to help her off since there is a big step down to the backstage floor, but, because the other cast members started crowding to get off stage, I couldn't reach her.  One of the crew caught her head before she smashed it.  I could tell she was in pain but got up and went on with the next scene - a real trooper.

We are so crowded backstage that this could happen again.  I jettisoned some set pieces (audience will just have to use their imaginations) to make more room but am very worried.  As SM I feel like it's my fault she fell.  I spoke to the lighting tech and will speak to the cast about pushing and shoving.  I'd rather have a long scene change than an accident.

Anyone else have these problems?



Replies:
Posted By: Topper
Date Posted: 6/01/06 at 11:31am

About nine years ago, during our first tech rehearsal of a week-long show that was slapped together on the fly, the blackout after scene 1 left the stage (and backstage) in complete darkness.  I walked towards where I thought the exit stairs might be, misjudged the distance, and did a complete header off a three-foot high platform, breaking my right shoulder.

Rehearsal was halted while I was taken to the emergency room to get x-rays and a sling.  The next day, the show went on and -- being the trooper that I am -- so did I, with my right arm dangling lifelessly by my side.  I saved my sling for when I was offstage.

Although no one was behind me pushing or shoving, I believe a lot of that behavior is due to the slight panic actor's feel in their rush to get off stage and not being able to find the exits quickly enough.

"Running lights" or "Safety lights" on the stairs would've solved this problem.  They are low-wattage bulbs -- much like your typical night-lights found in children's nurseries.  You can make your own using coffee cans or other tins with a socket and bulb inside, covering the opening with a blue gel.  If placed correctly, they offer just enough light to mark the exits safely without distracting from the blackout or lighting design of the production.



-------------
"None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone


Posted By: Playwright
Date Posted: 6/01/06 at 12:09pm

One of the things that we do in my CT's is use lots of glow tape backstage.  We mark the edge of stairs. platforms.  Any staircases backstage have hand railings put on them and they are marked with glow tape.  Glow tape is also used onstage and placed in stragecic places where it's not seen by the audience. (ie- on the top corner edges of furniture so the actor sees it but audience can't.  Both CTs I work in have elevated stages.  If a piece of glow tape has to be put in a spot where the audience might see it- then so be it-.  The safety of the cast and crew is paramount under every circumstance.

   I also take time at the tech rehearsals to practice the exits and entrances to find where we need glow tape.  That way the actors and crew all feel confident and safe.



Posted By: Gaafa
Date Posted: 6/01/06 at 12:39pm
For a quick fix you could use fluro spiking tape or the spike paint works as well on the floor. The paint can only be seen in the dark & is charged up when the lights are on, also it is washable! White gaffer tape is useful on the edge of steps or rostra & works well in the dark.
As Topper suggests use a sconce light which are easy enough to produce.
Get an empty  beer or cool drink can, cut an elongated oblong slit out of one side from top to bottom. Wide enough to put a 15w globe thru. Get some bulldog clips, the type that can be mounted on a flat clip board. Pop Rivett it on the opposite side of the can to the slit opening. Cut a hole in bottom of the can to accept the electrical globe socket. Fit the globe & an electrical supply cable & you have produced a sconce, that can be clipped on anywhere & when plugged in shine on the floor with blue gel fitted. These can also be used for music stand sconce lights as well!
The last theatre I wired up a theatre a few years ago, I designed into the circuit a mode switch, which switched over from white [work] light to blue[show] lighting for back stage. I used bulk head light fittings around the back stage walls, which had a dual globes of white & blue on separate circuits. So when the lighting  is switched to show mode, no white light could be switched on. But that?s another story & won?t solve you problem!
When the blackout cue goes is the scene change done upstage of Tabs or masking. If so get you bio box to cue in a work light channel, if it is done in view of the audience, try a brown out!



-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: k8tt
Date Posted: 6/02/06 at 10:38am
I haven't been able to find glow tape around here.  Does anyone have an on-line lead for it?  I do have nightlights backstage but I think this accident was due to pushing and shoving.  For tonight I will put white electrical tape on the steps and have the light tech not do a complete blackout.  Just too dangerous.

Incredible that you went on with a broken shoulder, Topper!


Posted By: Gaafa
Date Posted: 6/02/06 at 1:55pm
I found some fluro spike tape at one of those $2 shops & also from a kids novelty store, quiet cheap!
I would think any theatre lighting supplier would have the paint in stock. It is produced by Rosco who do the colour Gel Filters.
  One effective trick is to shine a blue light at stage floor level, away from the stage off into the wings, on OP & PS!
Also white Gaffer tape takes trafic better than sparky tape!



-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: Linda S
Date Posted: 6/02/06 at 2:56pm

Hi K8tt,

Accidents backstage are one of my worst nightmares. I am so sorry that happened at your theater. I am nut about cover everything with glo tape. I also choregraph entrances and exits with big casts. I found if they have order in which they are suppose to leave they feel secure and no one pushes. This is a throw back to my days teaching elementary school.

There are tons of sites on line to get glo tape  This site looked reasonable as far as price. http://www.thetapeworks.com/glo.htm - http://www.thetapeworks.com/glo.htm

Linda



Posted By: GoldCanyonLady
Date Posted: 6/02/06 at 3:38pm
We have no curtain so always have a black out at the end of each scene/act. The SM opens a door and shines a tiny flashlight to the floor. Everyone goes to the light (I tell them not to hurry) and it is surprising how much light that tiny speck gives for the actors on stage. There is a black out curtain hanging just inside that door and plenty of light behind that. We are all seniors but (knock on wood) have not had any accidents.

Barb




-------------
Barb Hofmeister,
MountainBrook Village Players, Gold Canyon, Arizona.


Posted By: castMe
Date Posted: 6/02/06 at 6:49pm
We found that the glow paint didn't work as well as the tape. It is very expensive and doesn't hold "a charge" of light nearly as long.  We use it all over the place.  On steps we place a small piece centered on the edge of the tread "always step behind the tape on the way down" we tell our actors.  We also place a small piece on each side of the step.  We space a number of pieces on the floor beyond the steps so the actors have a glowing path all the way to the wings or from the wings to the steps.  We have also begun putting a small piece of tape on the off-stage edges of flats at about eye level.  There is no need to use more then a one inch by 1/8" inch strip in most cases.  We also shoot a single staple into the tape so it can't be inadvertently scraped off. I can usually tape an entire show with about 3 or 4 inches of the one-inch wide tape. 
As Playwright has stated, don't worry about site lines for your tape or safety lights.  Safety first.  In thirty-plus years in college, professional and community theater, the only show I've ever done requiring a complete blackout is Wait Until Dark.  Even then, the actors were on stage and we strategically place glow tape on the up stage edges of furniture. 


-------------
Investigate. Imagine. Choose.


Posted By: Tom_Rylex
Date Posted: 6/03/06 at 8:15am
k8tt,

It's scary stuff when injuries happen. It's also a mark of a good stage manager that you feel responsible for the actor's safety and well being.

Running lights, as mentioned above, are a must. An actor coming off stage has just been blinded by the stage lights, so they aren't going to see as well as everyone in the wings.

It looks like you're already in the show at this point, but the best way to find safety weak points is to walk where the actors walk under their conditions. Stop the second you can't see something, and add whatever's appropriate (lights/tape/handrail).

-Tom


-------------
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
-R. Frost


Posted By: Gaafa
Date Posted: 6/03/06 at 8:33am
I have not used the glow paint for a while, but checking with a couple of mates still in the game. ?Cast me? is right it is not as good as it used be?
When I?m bumping in a show I run a line of white gaffer from the legs, set masking or access openings to off stage. This marks out the sight line that the performer can be seen by the punters, if they sticky beak beyond it on stage. Which also serves as a visual when exiting the stage.
For Dance or Opera shows. I run a white gaffer tape on the apron edge as a safety line. Dancers are good & there is never any worry of them going over! But we have lost a few Opera characters in the past, stepping off & disappearing into the pit - Very disconcerting, as It tends to damage the muso?s instruments & can be rather messy!



-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: k8tt
Date Posted: 6/03/06 at 3:26pm
Thanks, Linda, for the glo tape site.

Yesterday I found white electrical tape and taped all steps down into backstage.  Then showed the cast where to step when they come off stage. Also gave them a lecture on shoving. For the one contentious scene I stood there with flashlight and my arm out for the actress to lean on as she gets out of her wheelchair and steps down .  Also stood there for every other SL exit with my little flashlight.  My ASM covered SR.

Now I have to give the cast a second lecture about letting the stage crew do their stuff before they can go on for their scenes.  Too much crowding at the doorways.  Eager bunch of actors! *G*

I think I will advise no more plays with 14 scene changes.  Too many opportunities for accidents.
 


Posted By: slicksister
Date Posted: 6/03/06 at 4:58pm
14 scene changes?  Either you or the playwrite are nuts!  Him/her for writing a script with that many changes and your theatre company for putting it on.  If a play has any more than 5 I refuse to do it!  LOL!!!

-------------
The Main Thing is to Keep the Main Thing the Main Thing


Posted By: Gaafa
Date Posted: 6/04/06 at 3:44am
I?m probably getting mixed up? But if I remember correctly? K8tts play  is a mufti scene set, divided into 3 zones or possibly extended to 5. Using lighting to split the full setting into separate acting areas?
Plays like ?Hotel Sorrento? & ?Travelling North? by those Aussie writers,  come to mind. As having over 20 odd scene changes of 5 separate set locations!
Primarily they were written for TV or with TV in mind, but to be performed on stage!
?Man Of La Mancha? as a play with music, which is a good example of a multi scene setting. Which was great to direct, design & do the mise en scene for!
However I have endured a quite a few plays & musicals were the scene changes, were done by bringing the tabs or house rag every time. That it  became long enough, for me to be expecting the house lights & even interlude music for an Interval!
In all cases I ensure that scene changes became seamless, by applying the 5 P?s! Working on the basis, that if the punters have to wait  30 seconds for a scene change, it is far too long!
There is a lot of tennis style plays out there, that ping pong back & forth between the same scenes. Either they  forget or don?t realise there is a big difference between, having live punters in an auditorium & those who are inside a TV camera?





 
 

-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: Kathy S
Date Posted: 6/05/06 at 1:32am

Please, Joe, remind us what the "5 P's" stand for again....

 






 



Posted By: Gaafa
Date Posted: 6/05/06 at 3:29am
Prior [or Pre ] Planning Prevents [P*ss] Poor Production!
It can be six or more if you wish!



-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: k8tt
Date Posted: 6/05/06 at 5:52pm
LOL Joe, I hadn't heard of the 5/6 Ps before.

Yes, this is Marvin's Room (also done as a movie in 90s with Meryl Streep, Diane Keaton and a young Leo DiCaprio).  We have the tiny stage divided into four areas (DSL, DSR, USL and USR).  And we still use DSL and USL for multiple scenes.  It's a nightmare, but the audience seems to enjoy the play.

I do NOT enjoy being SM AND stage crew.  We are so crowded in our narrow backstage area that I have to use one actor, my ASM and myself as stage crew (with 9 cast members we are packed like sardines).  The walls back there are papered with scene change instructions for each of us and we still screw up. Saturday night I had to shove a prop under the curtain because my actor/crew guy didn't put the table out for it to go on.  No table, so I forgot the prop. LOLOLOL


Posted By: Gaafa
Date Posted: 6/06/06 at 5:47am
 I couldn?t remember the actual play! It is a problem when you have little or no space backstage.
I have done a few Musicals in a postage stamp space, it is difficult to put the complex into the simplex, but I bet your enjoying it?
At least your not bored watching movies on portable TV?s between cues!
We have only a 100 square metre stage, when I did the first show there, which was a tap dancing production. So we built an Apron stage 2.4m x 8.2m level with the stage, from wooden folding gate leg rostra. Which in fact made the small wing space more manageable.
The rostra is easy to remove foldaway, store & reinstall. Although it has become a permanent gaff fixture now, & used for all our & other hall users events!
With a lot of musicals especially in small spaces, I choreograph moves for the cast, during rehearsals, to move props or set pieces. As part of their exit or entrances, on brown or black out scene changes. Which works better & relieves the pressure on the crew.
Back in the 60?s I designed a CT production of ?Alfie?. Unfortunately we couldn?t afford to build a revolve, as it had multiple short cameo scenes. So I built a removable central post, with 3 flats that pivoted & revolved around it. It worked out well, except they brought in an Assistant Director who only knew about TV production. Who almost sent us round the twist, because she wanted heaps of furniture, props & set pieces. Everything from a full 2 bed hospital ward, 3 apartments & also a real sports car on stage.
Needless to say by the time we got to the dress rehearsal all the unneeded props & whatever ended up being diced out the door. It finally got back to just the revolving flats, minimal props & set pieces, that I designed originaly!
We were bought off & used the new sports car, because the car yard payed a heap out in advertising &sponsorship. But the deck crew required dropped to 2 from 7. The AD quietly evaporated, only fronting up for the after season party, which was more acceptable!    



-------------
      Joe
Western Gondawandaland
turn right @ Perth.
Hear the light & see the sound.
Toi Toi Toi Chookas {{"chook [chicken] it is"}
May you always play
to a full house}



Posted By: tristanrobin
Date Posted: 6/06/06 at 3:37pm
If a play has any more than 5 I refuse to do it! LOL!!!

omg
heh heh
you don't do many musicals do you?
I can't think of one that only has five sets LOL

(okay - that wasn't a challenge LOL)


Posted By: Kathy S
Date Posted: 6/07/06 at 12:39am

I have to take a challenge.

I can think of one that has less than five sets.  It's the perfect show:  A Funny Thing Happened on the Way to the Forum  - hardly any costume changes, either.  Also, The Fantasticks - one set, no costume changes.



Posted By: Shatcher
Date Posted: 6/12/06 at 12:38pm

I have a rule when I SM large casts in small places. No one backstage unless your entrance is 2 minutes away cuts down on crowding.

I have also been known to say that an actor will trip over a line painted on the floor! LOL

Glow tape is best just make sure you charge it up before the show. I have one of my ASM run around and hit each piece with a flashlight before the house opens. Running lights are a must as well. When I do lights I program into every blackout the backstage runners so the light tech won't forget. in the case of your older actors sometimes you just need to assign them a crew person who take care of getting them on and off stage. I have worked with an older guy who was a great actor he just couldn't get to the stage on time. so I got an extra crew person to babysit them, take them backstage for entrances and be right there to take him off again.

As for the space issue: you could always just blow out the backwall of the theatreLOL that should do it!

good luck and don't beat yourself up about it. these kinds on things happen and can not always be avoided. I did Noises off one year in summer stock and the actor who played the director triped coming through the window (he had worked this entrance about 100 times) and broke his leg. he finished the show and did the rest of the season (we did 7 shows in rep, he was in 5) in a cast. Laughing at himself the whole time!



Posted By: Guests
Date Posted: 9/28/06 at 2:58pm

You can order Glow Tape, and Glow Arrows, etc. through rosebrand.com.

Also, I make it an art form if I need to use it where the audience will see it.  My actor's safety is the most important thing.

As for the one actor who needs help down the stairs, assign another actor who is also exiting to be the escort before she starts down the escape stairs.

Lastly, I use a camera flash with a test button ($20 at any camera store) to charge my glow tape.



-------------


Posted By: Nanette
Date Posted: 9/28/06 at 7:09pm
We had Scrooge fall off the stage once (nice effect, though, as he was meeting Jacob Marley right then!) and an entire set fell ... domino-style ... when an over-anxious actor turned, hands-out, and started walking during a blackout (we were sharing space w/ the high school and they had a concert ... we couldn't nail the set down until AFTER their concert that night).  I've used simple white or blue holiday lights strung along the floor in the wings.  It's inexpensive and gives enough light for the actors to see very well.  If the audience sees it, well, I'd rather have my cast safe than in traction.

-------------
In a world of margarine, be butter!


Posted By: red diva
Date Posted: 10/02/06 at 3:15pm

We always try to identify the actors that are "night blind" and need help being escorted off stage in the dark. At least one or two volunteers near them on stage grab their hands and guide them into the wings, which are usually lit with blue light.  I used to be one of the guides; now I'm being guided.  Sad but true.

We also use LOTS of glow tape, but I find that it disorients some people because they have trouble identifying what areas of the stage or pieces of furniture the tape is marking.  My suggestion is to start using it as early in the rehearsal process as possible so that those folks can get used to seeing the tape in specific spots.



-------------
"I've worked long and hard to earn the right to be called Diva!"


Posted By: avcastner
Date Posted: 1/19/07 at 3:53pm
Backstage we use christmas tree lights--usually blue, as they are not as bright.  I've seen the local Shakespeare festival use rope lights you can get at the holiday time as well.  Some professional lighting companies sell the rope lighting, too.
 
Also, I have my stage managers give two tours once the set is up:  a tour of the set and backstage areas with all the lights up, pointing out the danger spots; and another tour with a black out and running lights on.  They progress single-file throughout the whole tour.  It seems to help.


-------------


Posted By: Techiemama
Date Posted: 1/22/07 at 4:22am
During my stint as a Stage Manager , I bought a couple hundred 'glow sticks' online and I tape them everywhere that can't be seen backstage.  They provide enough light to keep people from bumping into set pieces, they can define stairs in the dark and they glow long enough for the matinee and evening performances without replacing them.
I had a very difficult director, with a TON of scene changes, a cast of a hundred kids, and hazards galore for Wizard of Oz and I found that the glowsticks cut down on our accidents and our need for tons of flashlights backstage.  They were helpful also on the backs of the curtain legs, so the actors could find their entrances easily, and also on the 'brakes' for the ropes so our elderly but delightful scrim puller could find the scrim and not accidentally pull the grand on us.
 
My ASM thinks we should package them as 'backstage safety devices'.
 
Hope they help you all out.
 



Print Page | Close Window

Bulletin Board Software by Web Wiz Forums version 8.05 - http://www.webwizforums.com
Copyright ©2001-2006 Web Wiz Guide - http://www.webwizguide.info