During the process of ‘Three Words’ I have found myself undertaking a more challenging role that I have been accustomed to. The usual position I adopt for a production for the past couple of years has been the Stage Manager, a demanding job of its own accord, however by taking on the role of Production Manager has been a brand new challenge which I have gladly accepted. I have gained new responsibilities, such a creating the risk assessment and providing a technical rider to any theatres we may tour to. Throughout this process I keep reminding myself that I am “the person responsible for everything on stage that is not an actor” (Dean 2007, p. 6), especially during the technical rehearsals, I must make sure everything technical and on stage is running smoothly and safely. Peter Maccoy clarifies in Essentials of Stage Management that the HCE (Health Care Equipment) “defines a risk assessment as nothing more than a careful examination of what, in your work, could cause harm to people, so that you can weigh up whether you have taken enough precautions or should do more to prevent harm. The aim is to make sure that no one gets hurt or becomes ill” (2004, p. 217)
With this in mind, risk assessments are not designed to identify every possible hazard that could occur during the production; instead they are made to reduce risks to acceptable levels. These evaluations open up the cast and crew’s eyes to potential dangers and enable the company to plan how to prevent such incidents from occurring and making sure their risk is reduced if they do. It is essential that either the PM or SM, PM in my case, completes this form so that the “risks can be can be identified and the necessary precautions taken to ensure a safe environment” (Pallin 2012, p. 109), generally they are straight forward to fill in.
Risk assessments should at least include these following questions:
1. What are the possible hazards?
2. Who is at risk?
3. What controls are needed?
4. How are they going to be implemented?
With controls put into action, such as making sure all wires and cables are kept tidy on and around the stage, taped down and covered appropriately, the production can safely carry on.
NO ADDED SUGAR RISK ASSESSMENT
Above is the risk assessment I have designed for ‘Three Words’, and with our stage and set being fairly minimal, thankfully, it was not a lengthy process. As I am also an actor in this production, I was able to imagine any possible dangers that may occur on stage to myself or any other members of the cast. The biggest dangers appear to be our four microphones which need to be able to be easily moved around the stage, baring this in mind, it means that the cables are not able to be completely taped down across the stage. In reducing this risk, actors will need to be completely aware of them on the stage and where they are going to be moved to.
My role as Production Manager also includes co-ordinating and communicating. Not only is it important to complete this form, it is also vital to prepare a technical rider which can be forwarded to each theatre the company may be travelling to. During this process I am responsible for being “realistic about what can be achieved with the resources available” (Dean 2007, p. 70), so throughout the development of the process I have being documenting the essential bits and pieces that our performance demands. It is imperative that the technical rider includes the technical information of what your company will be travelling with and what they may require at the venue. This is in order for the venue to contact the company at the earliest possible date if they are any issues, such as not being able to provide them with the required equipment necessary for the performance.
NO ADDED SUGAR TECHNICAL RIDER
Above is ‘Three Words’ technical rider. As we employ both video and live mixed sound, it was imperative we included everything that is essential, such as the exact number and type of microphones that we require, also the number of projectors used and where exactly they would need to be placed for the performance. By including as many fragments of technical information on this document enables the theatre company to tour from venue-to-venue as smoothly as possible. By sending this document out the company is able to liaise with venues long before they arrive. The requirements set should be made clear so the company’s ‘get in’ can run efficiently with as little issues as possible.
Works Cited
Dean, P. (2007) Production Management: Making Shows Happen -A Practical Guide, Wiltshire: The Crowood Press Ltd.
Pallin, G. (2012) Stage Management: The Essential Handbook, London: Nick Hern Books.