Stage Rigging Handbook, Third Edition

Preface to the Third Edition

xvii Preface to the Third Edition The third edition contains a number of additions and changes requested by readers and participants in the rigging master classes and workshops that I have taught over the last ten years. The additions also reflect some of the changes in the way that the entertainment industry is approaching rigging. Stagehands, technical directors, and venue managers are increasingly aware of the dangers of unsafe rigging practices, and there is a concerted effort in the industry to do things correctly and safely. In a number of venues, from legitimate theatres to theme parks and Las Vegas spectaculars, a new attitude is emerging: The show does not have to go on—unless it can go on safely. On Broadway, stagehands no longer use Genie lifts without outriggers , they keep maintenance logs on the rigging equipment, and regular rigging-equipment inspections are part of the standard practice. The Entertainment Technician Certification Program is up and running, and there are now nationally certified flymen and riggers. In an effort to help stage technicians more easily locate information they need on installing, maintaining, or operating equipment , this third edition is indexed. It also contains new sections with detailed checklists for rigging inspections, installing rigging, and creating venue-specific training programs. The section on fire curtains was added to help stagehands understand how existing fire curtains work and to keep the curtains operating according to code. As with the first and second editions, thanks are due to a number of people who willingly and generously shared their knowledge with me to help make this edition more useful. Thank you to Dan Culhane of SECOA for his drawings and counsel on fire curtains and to Barry Grothause of Loos & Co. and John Quinn, senior development engineer of National Telephone Supply Co., for answering my many questions and providing detailed information on terminating wire rope. A special thanks to Craig Ryan of Ver Sales for helping me understand the various standards for wire rope as well as providing information and hardware samples used in the termination section. Thanks also to Jerry Gorrell, who provided much needed information on fire-curtain xviii fabric, and to Reid Neslage of H & H Specialty and Tom Young of J. R. Clancy, who provided drawings and counsel during the research process. To everyone above, I extend my grateful appreciation . Also, I would like to thank the United States Institute for Theatre Technology (USITT) for sharing information during the research process. To my wife, Sallie, I owe a debt that can never be repaid for her editing skills, commentary, and support during the process of creating and bringing this edition to print. I wish to express my deepest gratitude to the staff at Southern Illinois University Press who worked on this edition: Kristine Priddy, assistant acquisitions editor; Mary Lou Kowaleski, copy editor; Wayne Larsen, project editor; Erin Longwell, designer and typesetter; Paula Durbin-Westby; and Barbara Martin, editorial , design, and production manager. Without their professionalism and consistently enthusiastic, diligent, and good-humored support, the show could not have gone on. ...