Tech Production | Rigging
Available online learning
This course offers virtual on-the-job training for riggers of all experience levels. We will focus on the functional aspects of ground rigging, including (but not limited to); Identifying chalk markings Building baskets & bridles How to properly tie-on ropes to send steel Truss wrapping Equipment inspection Motor usage and troubleshooting. This course is worth 1.5 ETCP renewal credits
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Presenter: Phil van Hest provides Rigging, Fall Protection and Heavy Equipment instruction in the LA area. Before entering the world of rigging safety, Phil toured the world as a comic/writer/performer and thought twice about mentioning it; rigging and safety are famously humorless subjects. Phil is the Safety and Rigging Manager for Bigger Hammer Production Services, and an ETCP Recognized Trainer holding ETCP certifications in Arena and Theatrical rigging. He currently resides in Orange County, another place in California named after a thing that used to be there before it got paved over.
This course offers virtual on-the-job training for riggers of all experience levels. We will focus on the functional aspects of up rigging, including (but not limited to) Harness, lanyard and rope management Working on a beam How to wrap a steel basket, secure and strike it Truss climbing Timber hitches Equipment inspection Basic bridle theory Fall Protection fundamentals Most of what you will need to know to perform up rigging duties in an arena setting, and whatever else you have questions about. This course is worth 1.5 ETCP renewal credits. This webinar is being brought to you in part by Bigger Hammer Production Services.
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Presenter: Phil van Hest provides Rigging, Fall Protection and Heavy Equipment instruction in the LA area. Before entering the world of rigging safety, Phil toured the world as a comic/writer/performer and thought twice about mentioning it; rigging and safety are famously humorless subjects. Phil is the Safety and Rigging Manager for Bigger Hammer Production Services, and an ETCP Recognized Trainer holding ETCP certifications in Arena and Theatrical rigging. He currently resides in Orange County, another place in California named after a thing that used to be there before it got paved over.
Presented by Nils Becker, Joe Champelli and Pete Svitavksy All winch systems are not created equal. Understanding the difference between automation and motorization is key to making sure that the equipment you've asked for is appropriate for the job you are trying to do or the effect you are trying to create.
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Presenter: Nils Becker For the last nine years, Nils Becker has been working with ETC Rigging installers and customers on product development, systems integration, training, and installation. He washed ashore at ETC after a 17-year tour at the MGM Grand Hotel in Las Vegas, where he was part of the in-house design team for some of the largest productions on the planet, plus night clubs, bars, restaurants, retail and other themed environments. The last seven years of which culminated in his position as Lighting Director for Cirque du Soleil’s production of KÀ. Prior to the MGM, he attended Old Dominion University, and worked at Busch Gardens Williamsburg before moving to ‘Lost Wages.’
Presenter: Joe Champelli Joe Champelli is Vice President of Entertainment Project Services, where he oversees operations and mechanical design. Joe has over 25 years of experience in machinery design, operations, and project management with a focus on performer flying, custom machinery and special effects. Joe began his career in Las Vegas working on large productions including the Pirate Battle at Treasure Island and the Cirque Du Soleil O showroom. Joe served as Chief Operations Officer and Mechanical Designer for Fisher Technical Services, Inc. During his tenure there, FTSI grew from 2 to 100+ employees and completed major new construction projects such as the Le Rêve showroom at Wynn Resorts and the 600-foot-long nightly flight of Tinkerbell at Disneyland. Prior to joining EPS, Joe spent five years as the General Manager and Lead Mechanical Designer for ZFX, Inc. where he helped grow the business and refine operations. Joe is ETCP Certified in Arena and Theatre Rigging, holds an MFA in Technical Production from Penn State University as well as a B.S. in Design from Illinois State University.
Presenter: Pete Svitavksky(he/him/his) has worn a number of hats at JR Clancy and Wenger Corporation over the last twenty years working on stage engineering projects around the world. He is a licensed Professional Engineer, inventor of several patented designs, and proud to be among the members at USITT and ESTA who work to develop national standards for the entertainment industry. He is a regular contributor to the education of future generations of industry professionals through classes and conferences. When he is not at work you will find him with his family at home in the Finger Lakes or prowling in the woods and fields of Upstate New York.
Presented by Jennifer Estremera, Ed Kish, Michael Nishball and Bob Powers The Chase Center in San Francisco - we heard about the plans - how did it actually turn out? We will hear about the results from the consultant who helped design the systems, the lead rigger who helped install them, and a rigger who works the arena.
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Presenter: Jennifer Estremera Jennifer Estremera is a stagehand and member of IATSE Local 16 in San Francisco. Growing up, she had a predisposition to climb trees and structures and take apart mechanical objects. She started working in theatre at the age of 16, specializing in stage management and electrics until 2014 when she began training in motorized, counterweight, and aerialist rigging. This sparked her passion for the craft and a year later, she moved to San Francisco to gain experience in arena, outdoor, film, and convention rigging. In 2019, Jennifer was part of the team that installed hauling points throughout the newly opened Chase Center in San Francisco. She enjoyed the chance to work the venue’s earliest shows. When not at work, Jennifer engages fellow workers through Local 16’s Young Workers Group and Women’s Group and assists with trainings around industry skills, workers' rights and mental health. In the past year she has dedicated her time to organizing support for workers affected by the pandemic.
Presenter: Ed Kish Ed Kish, founder of Kish Rigging, has been involved in entertainment rigging since 1979. He has extensive experience in touring, TV and corporate events and has worked to advance safety through the ETCP program as well as ICOPER, the International Code of Practice for Entertainment Rigging.
Presenter: Michael NishballMichael Nishball is a leading expert in rigging and stage machinery design. A principal at Theatre Projects, he directs their theatre equipment team in designing efficient, cost-effective systems and safe workplaces. Since 1995, he’s provided stagehouse design, stage equipment details, and specifications for hundreds of performance spaces ranging from concert halls and opera houses to commercial venues. Notable projects include Chase Center in San Francisco, Stavros Niarchos Foundation Cultural Center in Athens Greece, New World Center in Miami Beach, the Winspear Opera House and Wyly Theatre in Dallas, Kauffman Center for the Performing Arts in Kansas City, Kimmel Center for the Performing Arts in Phildelphia, and the Dolby Theatre in Hollywood. Previously, Michael worked for the rigging contractor Pook, Diemont and Ohl. He’s also worked with the Boston Shakespeare Company, the American Repertory Theater, and several modern dance companies in Boston. He’s lectured in technical design at the Yale School of Drama. Michael received his BFA from the Massachusetts College of Art in the Studio for Interrelated Media, and his Associate of Science in television production from Grahm Junior College. He’s a member of the Construction Specifications Institute and a member of ESTA’s TSP Stage Machinery Working Group.
Presenter: Bob PowersBob Powers started working as a stagehand at the age of 17 in Cincinnati, OH. He became the lighting designer at his local venue and was whisked away on his first tour. He relocated to San Francisco in 1995, where he discovered rigging, went to work at Stage Rigging and did his first tour as a rigger. Shortly after, he became a member of IATSE Local 16 in San Francisco. Since then, Bob has been the head rigger for dozens of touring arena productions, as well as corporate events, taking him to 28 different countries. Being based in the Bay Area, he has been the head rigger for some of the largest Silicon Valley corporate events, as well as rigging dozens of feature films and television shows. While Bob made the choice early on not to specialize exclusively in automation, he has rigged productions that included automation systems from Tait/Fisher, Raynok, Kinesys, Schonberg, Motion Labs, Variolift, Speedwire, George & Goldberg, and Foy. When home, Bob participates as a rigging instructor in the many on-going classes and certifications that take place in the San Francisco Bay Area as a proud member of IATSE Local 16.
Presented by Fred Caron, Stu Cox, Paul Sapsis, and Jim Shumway Getting them up is one thing - getting them down safely is even more important. Emergency response and rescue plans. Working safely within the unique demands of performer flying.
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Presenter: Fred Caron After a failed career as a semi-professional rock climber, Fred Caron joined Cirque du Soleil in 2002 as a ‘fly in’ rigger, assisting with the movement of big top shows between cities. Soon after, he joined the Show Support Department, assisting touring shows with their various rigging operations and larger-scale projects such as integration into venues, such as the Royal Albert Hall in London, UK and Fuji Dome in Tokyo, Japan. In 2006, Fred was an acrobatic project manager for the creation of Zed, a resident show in Tokyo, and managed several large-scale acrobatic pieces. Once Zed completed, he returned to supporting tours at the Touring show division as a project leader and after as the Senior Acrobatic Rigging Advisor. In this role, he worked to establish guidelines, operating procedures, training requirements and many other tasks related to acrobatic rigging on all Cirque du Soleil’s shows touring the world. In 2020 Fred joined the team at Circus Concepts bringing his knowledge and experience to the manufacturing side of the industry.
Presenter: Stu Cox Stu Cox has traveled the planet rigging in theaters, arenas, stadiums, cruise ships, haunted houses and most anything else that could be considered a venue. He spent 10 years as a ZFX Flying Director, choreographing performer flying effects, along with aerialists, oversized inflatable scenery, 500’ motorized zip lines, and no shortage of flying monkeys, ghosts, angels, and Peter Pans. Since joining Sapsis Rigging, Stu has supervised rigging and fall protection projects as well as conducting rigging and safety inspections. He has worked with Wicked, the Vancouver Winter Olympics, Green Day’s American Idiot, FOX Sports, FIFA, Dublin’s Abbey Theatre, the Metropolitan Museum of Art, the Smithsonian, and Royal Caribbean Cruise Lines. Stu received a BFA in Theatre Design and Production from the University of Louisville and is an ETCP Certified Theatre and Arena Rigger and an ETCP Recognized Trainer. He has written articles for Protocol and Stage Directions magazines and was a contributing author for Entertainment Rigging for the 21st Century.
Presenter: Paul SapsisPaul Sapsis began his career in the entertainment industry in 2000. He started out working with his father, Michael Sapsis, primarily production rigging in New York City, in such venues as the uptown and downtown Armories, Hammerstein Ballroom, Saint Johns Cathedral, Bryant Park and the New York Public Library. In 2008, Paul began his work in automation with Fisher Technical Services on the Bubble project at the City Of Dreams Macau. He has since worked on innumerable national and international productions as well as contract film and TV. Paul has designed automation effects for Beyonce, Taylor Swift, Phish and Radio City Music Hall. He was also the only American nominated for “Rigger of the Year” by TPI, the UK’s leading rigging and touring magazine. More recently, Paul toured a world record number of axes as head of automation, and lead programmer for the Red Hot Chili Peppers’ Getaway tour, and set performer flying speed and distance records with P!NK’s Beautiful Trauma World Tour. Paul currently holds a technical lead position with TAIT and is responsible for designing and fabricating some of the worlds cutting edge stage machinery.
Presenter: Jim ShumwayJim Shumway is a Senior Project Manager at TAIT. Over his six-plus years with the company he has delivered unique solutions for clients of all sizes and markets including arena and stadium concert touring, theme parks, award shows, brand activations, and permanent installations. His portfolio includes productions for clients such as Beyoncé, Taylor Swift, P!NK, Bruno Mars, The Metropolitan Opera, Disney, and Universal Studios. Before joining TAIT Jim traveled the world with Cirque du Soleil on four shows over five years, participating in two creations, reaching the role of Head Rigger. He is an annual guest lecturer at the Yale School of Drama speaking on acrobatic rigging and performer flying and is the author of Automated Performer Flying: The State of the Art, published in 2019 by Routledge. He holds a BFA from Emerson College in technical direction. He is ETCP Certified in both Arena and Theatre Rigging and is also an ETCP Recognized Trainer.
Presented by Robert Babin, J. Patrick Daily, and Brady Majors Moderated by Kent Jorgensen A look at how riggers in motion pictures address the challenges of placement of cameras, actors and stunt people in "exotic" locations. Leading motion picture riggers will relate some of their favorite and most challenging rigging projects.
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Presenter: Robert Babin Robert Babin started his career in gripping in July 1977 and In 1978 he became a member of Local #80 Studio Grips. Since his start he’s been able to work in many different capacities of gripping, from working as a gang grip to working as a production Key Grip and Rigging Key Grip. In the last couple of years there have been some really great advances in the rigs that we use in the motion picture industry, as you will see in some of the photos that will be used.
Presenter: J. Patrick Daily Now in his 40th year in the motion picture business, Pat has been the Key Grip on over sixty feature films and a dozen television shows. His resume includes features filmed around the country and internationally with some of the industry’s greatest directors of photography and directors. His resume is available at www.jpatrickdaily.com. Always innovative, Pat has constantly been on the forefront of technology in lighting and camera movement, pioneering many methods commonly used today. As a Key Grip, Pat is known for innovative quick field solutions to solve the problem or to “get the shot.” In recent years, Pat has been called upon to build complex, unique solutions in wire camera rigs for films like Transformers, James Bond, Avengers, Bourne, and West Side Story. It is Pat’s “out of the box” thinking that has made him a premier sought after Key Grip in our industry.
Presenter: Brady MajorsBrady Majors has worked in the entertainment industry for over 30 years, on everything from small theatre production to major motion pictures. He has always approached the industry through a learning lens: building on the desire to know what every department does, and how it fits into the larger Hollywood machine. These experiences propelled Brady to a successful film and television career as a Key Grip, both on set production and rigging. His credits include Fast & Furious 3: Tokyo Drift, Knocked Up, X-Men First Class, and Body of Proof. A few years ago Brady segued from working as a grip to being an Assistant Business Agent for I.A.T.S.E. Local 80, where he holds the elected position of President. He currently works as a Manager of Production Safety for Netflix.
Moderator: Kent JorgensenKent Jorgensen is a 35-year entertainment industry veteran mostly working as a grip in motion pictures. For the past 25 years Kent has specialized in occupational health and safety for the IATSE and for Local 80. He sits on oversite and standards writing committees and develops and teaches industry specific safety classes.
This course is Part 1 of a 4-part series.
The purpose of this course is to introduce you to the field of structural engineering. The course will cover three topic areas: What is Engineering, The Language of Engineering and Engineering Means and Methods. The goals of the course are:
To help you understand the process that an engineer uses to analyze a structure, to provide an understanding of engineering terms so that you can clearly communicate with your engineer, and to introduce you to basic engineering concepts for static structures as a basis for further work in parts 2 through 4 of this series.
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Presenter: Shawn Nolan During his 35 plus year career, Shawn Nolan has worked extensively throughout the entertainment industry in the fields of stage technology, automation and rigging. His current focus is two-fold: standards compliance to ensure adherence to national and international standards, and structural and mechanical analysis and design for the entertainment industry. He has extensive experience with equipment and methods used by the entertainment industry for both mechanical and structural systems, including design experience for aluminum structures and mechanics for automated systems. Shawn attended Baldwin-Wallace College then worked primarily in regional theatre in the 70’s and 80’s. He received his BS in Engineering from the University of Cincinnati and has been a practicing structural engineer since. Shawn currently works for PRG as Head of Technical Engineering & Standards. He is a Licensed Professional Engineer in 8 states. Shawn is active in ESTA and in USITT. He is a member of the American Society of Civil Engineers (ASCE) and the American Society of Mechanical Engineers (ASME). He is an ETCP Certified Rigger Arena & Theatre and an ETCP Recognized Trainer. Shawn has contributed extensive time to the development of ESTA’s ANSI standards including powered rigging and outdoor structures. He worked extensively on the development of the ETCP Certified Rigger program, which he feels is one of his most significant achievements destined to have long-term impact on the entertainment industry.
Loads may not have changed but the way we evaluate them has. The entertainment industry has shifted away from relying on single, large factors of safety, instead applying appropriately smaller design factors to understood loads. In this session, the presenters will define terms such as characteristic, dynamic, and peak load, and they will demonstrate how these concepts are used in engineering calculations.
These principles form the basis for current entertainment machinery Standards. This session is part of the Engineering Commission's Mechanical Design Series with “Stage Machinery Brake Design and Selection" and “Emergency Stop Systems - How Safe is Safe Enough?”.
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Presenters:
Dan Lisowski Dan Lisowski is the Head of Theatre Technology/Assistant Professor at the University of Wisconsin - Madison where he mentors students and teaches courses in automation control design, mechanical design, structural design, creative problem solving, and technical direction. Dan's research interests include Network-based Safety-Critical Control Systems and other topics in Functional Safety Design. Dan serves as the Vice-Commissioner for Programming for USITT's Engineering Commission, is a voting member of PLASA's TSP Rigging and Control Protocol Working Groups, and was a member of the ANSI E1.43 "Performer Flying Systems" task group charged with writing the standard for our industry. Additionally, he operates a freelance entertainment design engineering firm, For The Stage, LLC, which specializes in automation control systems. Before rejoining academia, he served as Head of Electrical Design at Fisher Technical Services Inc. in Las Vegas and has worked with ZFX Flying Effects, Hudson Scenic Studio, and Chicago Scenic Studios.
John Van Arsdale John Van Arsdale is a Technical Designer at PRG Scenic Technologies, providing technical solutions for Broadway, Off-Broadway, touring and regional theater. He received his MFA in Theatre & Drama, emphasis in Theatre Technology from the University of Wisconsin-Madison. While at UW, John concentrated his research on technical production and mechanical design. He presented his research on the effects of acceleration on the human body to the PLASA E1.43 Performer Flying Effects Task Group. John is a proud recipient of the USITT Young Designers & Technicians KM Fabrics Inc. Technical Production Award in 2015 and a strong supporter of USITT.
Joe Champelli Director of Mechanical Design (Entertainment Project Services, LLC): Joe began his career in Las Vegas working on large-scale Entertainment Automation projects such as the Pirate Battle at Treasure Island, the Siegfried and Roy Show and Cirque Du Soleil’s ‘O’ at Bellagio. Prior to joining EPS, Joe spent 5 years as General Manager and Lead Mechanical Designer for ZFX, Inc. and 11 years as Lead Mechanical Designer/VP/COO for Fisher Technical Services, Inc. Favorite past projects include Tinkerbell at Disneyland and two separate projects for NASA/JPL. As Director of Mechanical Design for Entertainment Project Services, LLC, Joe is enjoying tackling new and unique challenges. EPS’s project list includes projects for major theme parks in the US, domestic and international hotel/casino projects, cruise ships and a variety of Entertainment Rigging and Automation companies. Joe holds an MFA in Technical Production from Penn State University and a Bachelor’s of Science in Design from Illinois State University. In his free time, Joe enjoys, playing board games and throwing hatchets with his wife of 20 years and their three children.
A comparative analysis of flat production techniques. Which are the best for tall, wide or irregularly-shaped flats? What are the best ways to rig or move vertical scenery? These questions and more will be discussed.
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Presenters:
Mary Black is the Technical Director and an assistant professor at Millikin University in Decatur, Illinois, where she teaches classes in stagecraft, scenic construction, technical direction, and theatrical sound. She has an MFA in theatre technology from Indiana University, and was the 2009 recipient of the KM Fabrics, Inc. Technical Production award.
Scott Bartley is chair of the Theatre Department at Central Connecticut State University. On top of teaching two courses and running a department Bartley is also the Technical Director and Sound Designer for most of the department’s four shows a year.
.5 ETCP RENEWAL CREDIT Brakes in stage machinery are a tap-dance between having enough braking force to safely stop the load and too much braking force that would result in excessive dynamic forces. This session describes the various brake designs and current options in the market. A quick overview about how to dimension brakes for a specific machine and the special requirement for brakes in machines intended for performer flying.
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Presenters:
Joe Champelli Director of Mechanical Design (Entertainment Project Services, LLC): Joe began his career in Las Vegas working on large-scale Entertainment Automation projects such as the Pirate Battle at Treasure Island, the Siegfried and Roy Show and Cirque Du Soleil’s ‘O’ at Bellagio. Prior to joining EPS, Joe spent 5 years as General Manager and Lead Mechanical Designer for ZFX, Inc. and 11 years as Lead Mechanical Designer/VP/COO for Fisher Technical Services, Inc. Favorite past projects include Tinkerbell at Disneyland and two separate projects for NASA/JPL. As Director of Mechanical Design for Entertainment Project Services, LLC, Joe is enjoying tackling new and unique challenges. EPS’s project list includes projects for major theme parks in the US, domestic and international hotel/casino projects, cruise ships and a variety of Entertainment Rigging and Automation companies. Joe holds an MFA in Technical Production from Penn State University and a Bachelor’s of Science in Design from Illinois State University. In his free time, Joe enjoys, playing board games and throwing hatchets with his wife of 20 years and their three children.
Alan Hendrickson Alan Hendrickson has been teaching at the Yale School of Drama since 1979, Alan teaches graduate level courses in the physics of stage machinery, mechanical design, fluid power, control systems, electricity, and the history of theatre architecture. At the Yale Repertory Theatre he acts as Automation Supervisor overseeing the design and construction of mechanized scenic effects. With contributing author Colin Buckhurst, he wrote Mechanical Design for the Stage published by Focal Press in 2008. He also consults on control systems and machinery design for Hudson Scenic Studio, Inc. of New York.
Peter Svitavsky Peter V. Svitavsky worked as a stage carpenter and rigger before returning to school to earn a degree in mechanical engineering. For eighteen years he has been a member of the team at JR Clancy and enjoyed contributing to the projects that they undertake at venues around the world. He is proud to be among the members of PLASA working to develop national standards for the entertainment industry. Pete designs, builds, inspects and services equipment in places of entertainment wherever they may be. In his travels he has earned the license of a Professional Engineer, IATSE membership, a number of patents, a few scars, and some great friends. When he is not working on stage machinery you will find him with his family at home in the Finger Lakes, or prowling in the woods and fields of Upstate New York.
Michael Lichter Michael Lichter is Senior Technical Product Manager for Rigging Control Systems at Electronic Theatre Controls, Inc. He worked in the entertainment industry for over 25 and joined ETC 19 years ago. Since then he was based in the US-Middleton, London and German ETC offices, has worked on projects around the globe and was actively involved in the design of several ETC products. Michael holds a degree in electrical and software engineering from Germany’s Hamburg University of Applied Sciences. Michael oversees the various ETC rigging control systems since 2004. He is also actively involved in the US PLASA / ANSI, German DIN and European CEN standards writing processes.
Come learn about how Kent State University partnered with Opera di Santa Croce to create a 3D-printed replica of Pio Fedi’s "Liberty of Poetry," believed to be the inspiration of the Statue of Liberty. Pio Fedi’s “Libertá” was 3D scanned on-site over the course of three days in Florence, Italy. The scans were used to create a nearly full-scale 3D-printed reproduction which was then scenic-painted. By breaking silos of science, art, and industry, nearly 40 individuals worked on the exhibit. The 9-foot-tall replica is currently a special exhibit at the Ellis Island National Immigration Museum through September 2020.
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Presenters:
Tammy Honesty is an Assistant Professor of Scenic Design who teaches scenic design, scenic painting, and props at Kent State University. She earned her MFA in Scenic Design from West Virginia University and BA in Theatre from Wilmington College. In 2018, Tammy co-authored The Fake Food Cookbook: Props You Can’t Eat for Theatre, Film, and TV. Recent projects include Gloria: A Life and designing the set for the world premieres of Family Ties and Banned from Baseball for the Human Race Theatre Company. She has designed ten shows for Cincinnati Playhouse in the Park’s Touring Company. Her New York credits include Ghosts (Oberon Theatre Ensemble, Off-Off Broadway). Regionally, Tammy has designed repeatedly at the Human Race Theatre Company in Dayton, OH. Her regional design work has earned a Cincinnati Acclaim Award, USITT OVS Board’s Choice Award, Peggy Ezekiel Awards of Outstanding Achievement, and was showcased in the World Stage Design 2013 and the USA-USITT PQ 2019 galleries.
Joshua Talbott is a Northeast Ohio native, family man, and serial technical innovator. Josh began his career as a tradesman in electronics and through the opportunities provided at various employers in the fields of digital media, manufacturing engineering, and information technology, he has transformed himself into a technical solutions provider and inventor. He is currently employed at Kent State University where he obtained his Masters of Technology and currently leads the academic information technology team at the largest college within the university. Josh also teaches technical college courses from time to time. His interests and experiences are broad. Mr. Talbott specializes at being a “generalist” and believes that varied experiences are where new ideas are born. Applying the Pareto principle, Josh digs in and dives deep into technical and complex nuance when the needs demand it.
Dr. Robert Clements is a neuroscientist who teaches and performs research at Kent State University. He develops and uses different three-dimensional (3D) imaging techniques to understand diseases of the brain, for virtual and physical reconstruction as well as education. Dr. Clements’ research aims to visualize our brains’ three-dimensional structure for better disease diagnosis and therapies as well as improve how we learn, experience, and perceive 3D environments and objects.
In part 1 of this series, Jenn Schwartz and Jason Wells are joined by Jared Mezzocchi to discuss how each production used Zoom differently, used add on technologies, and overcame the various abilities of the computers each cast member had access to. These choices drive many of the decisions you make in planning online productions.
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Presenters:
Jenn Schwartz is the Production Manager and Instructor of Stage Management for the School for Theatre, Dance, and Performance Studies at the University of Maryland, College Park. Prior to joining TDPS, Jenn was the General & Production Manager for Imagination Stage in Bethesda, MD, where she was provided the opportunity to spearhead many unique projects. Those projects include the successful planning and execution of an expansion into DC that began with a partnership with The National Theater in 2014, as well as producing and stage managing a tour of Inside Out as part of the 25th ASSITEJ International Summer Festival in South Korea in 2017. Imagination Stage was the first American company to present at the festival, and Jenn was thrilled to be able to represent American Theatre for the Very Young. Previously, Jenn filled the role of production manager at Round House Theatre, also in Bethesda, MD. She started her career as a stage manager, having worked on over 50 productions, and is a proud AEA member.
Jason Wells became the Director of Production of the Fisher Center at Bard in January 2020. Prior to that, he was the Director of Production of American Dance Institute/LUMBERYARD. At ADI/LYD he was instrumental in developing an ambitious technical residency program for contemporary performing artists. During his seven years there, he worked directly with some of the most respected American contemporary choreographers, directors, designers and performers as they created new works for the stage including Yvonne Rainer, David Gordon, Raja Feather Kelly, Sō Percussion, Elevator Repair Service, The Team, Bill T Jones, Urban Bush Women, Susan Marshall, Suzanne Bocanegra, David Neumann and Jodi Melnick. Jason was Head Electrician at the Yale School of Drama/Yale Repertory Theater from 2005-2012 and Master Electrician for the Sarah Lawrence College Theater Department, Barrington Stage, Westport Country Playhouse and Weston Playhouse. A 2001 graduate of Sarah Lawrence College, Jason is also a playwright, performer, and lighting designer. He lives in Catskill, NY with his wife Jacy Barber and their three cats.
In part 2 of this series, hear Jenn Schwartz and Jason Wells discuss how each of their companies adapted and morphed traditional roles to the unique challenges and requirements of online production, when Designer, Stage Manager, and Technician all mean different things when you take your show online.
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Presenters:
Jenn Schwartz is the Production Manager and Instructor of Stage Management for the School for Theatre, Dance, and Performance Studies at the University of Maryland, College Park. Prior to joining TDPS, Jenn was the General & Production Manager for Imagination Stage in Bethesda, MD, where she was provided the opportunity to spearhead many unique projects. Those projects include the successful planning and execution of an expansion into DC that began with a partnership with The National Theater in 2014, as well as producing and stage managing a tour of Inside Out as part of the 25th ASSITEJ International Summer Festival in South Korea in 2017. Imagination Stage was the first American company to present at the festival, and Jenn was thrilled to be able to represent American Theatre for the Very Young. Previously, Jenn filled the role of production manager at Round House Theatre, also in Bethesda, MD. She started her career as a stage manager, having worked on over 50 productions, and is a proud AEA member.Jason Wells became the Director of Production of the Fisher Center at Bard in January 2020. Prior to that, he was the Director of Production of American Dance Institute/LUMBERYARD. At ADI/LYD he was instrumental in developing an ambitious technical residency program for contemporary performing artists. During his seven years there, he worked directly with some of the most respected American contemporary choreographers, directors, designers and performers as they created new works for the stage including Yvonne Rainer, David Gordon, Raja Feather Kelly, Sō Percussion, Elevator Repair Service, The Team, Bill T Jones, Urban Bush Women, Susan Marshall, Suzanne Bocanegra, David Neumann and Jodi Melnick. Jason was Head Electrician at the Yale School of Drama/Yale Repertory Theater from 2005-2012 and Master Electrician for the Sarah Lawrence College Theater Department, Barrington Stage, Westport Country Playhouse and Weston Playhouse. A 2001 graduate of Sarah Lawrence College, Jason is also a playwright, performer, and lighting designer. He lives in Catskill, NY with his wife Jacy Barber and their three cats.
Jared Mezzocchi Jared Mezzocchi is a multimedia director and designer for theater and received his Masters of Fine Arts through Brooklyn College's Performance and Interactive Media Arts. He was awarded a Princess Grace Award in 2013 as the first projections designer to receive the honor. He has designed productions in New York City with 3-Legged Dog (Downtown Loop, SpyGarbo), Baryshnikov Arts Center (Robert Wilson’s On The Beach), HereArts (You Are Dead. You Are Here.), Builders Association (Jet Lag 2011), Rob Roth (Screen Test), and has toured nationally and internationally with Big Art Group (SOS, The Sleep, The People). Regionally, he has designed for Center Stage (Stones in his Pockets), Cleveland Playhouse (Breath and Imagination), Milwaukee Rep (History of Invulnerability, The Mountaintop), and CompanyONE (Astroboy and The God Of Comics). Locally in DC, he's designed for Woolly Mammoth (Totalitarians, Elaborate Entrance of Chad Diety), Synetic Theater (A Trip to the Moon), Theater J (Race, Yellowface), and Studio (Astroboy and The God Of Comics). As a director, he has spent the last 6 summers directing original work at Andy's Summer Playhouse, located in Wilton NH (Donkey Xote, Dick Tracy, The Lost World, The BFG, The Little Prince, The Block). In 2011, he won Best Original Play at the New Hampshire Theater Awards for his writing and direction in The Lost World. Outside of theater, Jared co-designed with Guilio Cappellini for Design Week in Milan Italy, for Connect4Climate and Alcantara. and this year will design the entrance and immersive experience for a Surf Museum in Montauk, NY. Jared has also taught multimedia design courses at NYU's Playwrights Horizons and Brooklyn College's MFA program in Performance and Interactive Media Arts.
Jenn Schwartz and Jason Wells wrap up the series with a discussion of the impact the move online had on the rehearsal and performance process. From zoom etiquette to helping the performer get some sense of audience engagement, each production learned lessons and adapted in different ways. This session will offer some help as you begin to think about how things work in the online production world.
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Presenters:
Jenn Schwartz is the Production Manager and Instructor of Stage Management for the School for Theatre, Dance, and Performance Studies at the University of Maryland, College Park. Prior to joining TDPS, Jenn was the General & Production Manager for Imagination Stage in Bethesda, MD, where she was provided the opportunity to spearhead many unique projects. Those projects include the successful planning and execution of an expansion into DC that began with a partnership with The National Theater in 2014, as well as producing and stage managing a tour of Inside Out as part of the 25th ASSITEJ International Summer Festival in South Korea in 2017. Imagination Stage was the first American company to present at the festival, and Jenn was thrilled to be able to represent American Theatre for the Very Young. Previously, Jenn filled the role of production manager at Round House Theatre, also in Bethesda, MD. She started her career as a stage manager, having worked on over 50 productions, and is a proud AEA member.Jason Wells became the Director of Production of the Fisher Center at Bard in January 2020. Prior to that, he was the Director of Production of American Dance Institute/LUMBERYARD. At ADI/LYD he was instrumental in developing an ambitious technical residency program for contemporary performing artists. During his seven years there, he worked directly with some of the most respected American contemporary choreographers, directors, designers and performers as they created new works for the stage including Yvonne Rainer, David Gordon, Raja Feather Kelly, Sō Percussion, Elevator Repair Service, The Team, Bill T Jones, Urban Bush Women, Susan Marshall, Suzanne Bocanegra, David Neumann and Jodi Melnick. Jason was Head Electrician at the Yale School of Drama/Yale Repertory Theater from 2005-2012 and Master Electrician for the Sarah Lawrence College Theater Department, Barrington Stage, Westport Country Playhouse and Weston Playhouse. A 2001 graduate of Sarah Lawrence College, Jason is also a playwright, performer, and lighting designer. He lives in Catskill, NY with his wife Jacy Barber and their three cats.
Jared Mezzocchi Jared Mezzocchi is a multimedia director and designer for theater and received his Masters of Fine Arts through Brooklyn College's Performance and Interactive Media Arts. He was awarded a Princess Grace Award in 2013 as the first projections designer to receive the honor. He has designed productions in New York City with 3-Legged Dog (Downtown Loop, SpyGarbo), Baryshnikov Arts Center (Robert Wilson’s On The Beach), HereArts (You Are Dead. You Are Here.), Builders Association (Jet Lag 2011), Rob Roth (Screen Test), and has toured nationally and internationally with Big Art Group (SOS, The Sleep, The People). Regionally, he has designed for Center Stage (Stones in his Pockets), Cleveland Playhouse (Breath and Imagination), Milwaukee Rep (History of Invulnerability, The Mountaintop), and CompanyONE (Astroboy and The God Of Comics). Locally in DC, he's designed for Woolly Mammoth (Totalitarians, Elaborate Entrance of Chad Diety), Synetic Theater (A Trip to the Moon), Theater J (Race, Yellowface), and Studio (Astroboy and The God Of Comics). As a director, he has spent the last 6 summers directing original work at Andy's Summer Playhouse, located in Wilton NH (Donkey Xote, Dick Tracy, The Lost World, The BFG, The Little Prince, The Block). In 2011, he won Best Original Play at the New Hampshire Theater Awards for his writing and direction in The Lost World. Outside of theater, Jared co-designed with Guilio Cappellini for Design Week in Milan Italy, for Connect4Climate and Alcantara. and this year will design the entrance and immersive experience for a Surf Museum in Montauk, NY. Jared has also taught multimedia design courses at NYU's Playwrights Horizons and Brooklyn College's MFA program in Performance and Interactive Media Arts.
Fixture manufacturers have developed LED Color mixing systems that utilize various combinations of LEDs including RGB, RGBA, RGBW, RGBL, RGBAL, RGBAW, RGBAWUv, or even White LEDs using subtractive CMY systems. Ford Sellers (Sr Product Manager for Chauvet Professional) talks us through the various color mixing systems, and then leads a discussion on how best to utilize a variety of fixtures in the same lighting rig. This session will be most beneficial to anyone (Student, Designer, Electrician, or Educator) who currently has multiple types of LED fixtures, or fixtures from multiple manufacturers. The discussion will help answer questions such as: How can Lighting Designers work with multiple systems in the same lighting rig? How can different systems work together, and what can you do to make best use of using multiple color systems easier?
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Presenter: Ford Sellers is an active lighting designer and freelance electrician. He has been the Senior Product Manager for Chauvet Professional, and Iluminarc since 2010. Prior to joining Chauvet, Ford was the Master Electrician for Cornell University's School of Theatre, Film, and Dance. Ford was also the Assistant Lighting Director for MGM Grand Productions and worked as a projectionist and follow-spot operator for large productions in Las Vegas.
Freelance designers and individual artists have unique proximity to the heartbeat of the theatre field. They work at numerous venues each season, in many cases over multiple years and multiple visits, thus experiencing a variety of institutional cultures first hand. However, unlike Actors Equity, there are no industry-wide standards for engaging freelance artists. How can institutions incorporate the learning and experience of the freelance artists they hire more deeply into their organization’s fabric, acknowledging the invaluable nature of their vantage point? Especially during this time when the entire field is on a forced pause. In this session, we explore how guest artists are welcomed and valued by the institutions that invite them through their doors. We will discuss implementing industry-wide standards, creating sustainable feedback loops, recommended best practices sourced from the community at large, and how we can move forward as a community.
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Presenters:
Porsche McGovern is a lighting designer. She designed Skeleton Crew and We Are Proud to Present... (Playmakers Repertory Company), A Single Shard (People's Light and Theatre Company), The Two Gentlemen of Verona (Oregon Shakespeare Festival). In New York, she designed Mothers (Playwrights Realm), Bureau of Missing Persons (Neighborhood Productions), Ghetto Babylon (Dramatic Question Theatre), many shows with Spookfish Theatre Company, among others. She has an MFA from California Institute for the Arts and a BA from St. Lawrence University. She is also a researcher, concentrating on designers in regional theatres.Deb Sivigny: As a costume and scenic designer, Deb Sivigny has worked on over thirty world premieres with Woolly Mammoth Theatre Company, Theater J, Kennedy Center Theater for Young Audiences, Imagination Stage, The Source Festival, Young Playwrights Theatre, The Hub, Studio Theatre 2nd Stage, and Rorschach Theatre where she has been a company member since 2006. She has also designed for Round House Theatre, Olney Theatre Center, Everyman Theatre, Signature Theatre, Colorado Shakespeare Festival, Rep Stage, Adventure Theatre, Shakespeare Theater’s Academy for Classical Acting, 1stStage, Keegan Theatre, Baltimore Shakespeare Festival, Opera Vivente, WSC Avant Bard, Flying V, DC and Seattle Fringe Festivals, Peridance, Dance Elixir and Tia Nina, among others. She is a member of the second generation of The Welders, where she served as Lead Producing Playwright for her work Hello, My Name Is… Set in a house, she designed and created environments that channeled the lives of Korean adoptees.
David Bengali is a projection and lighting designer based in New York. He has designed theater, opera, and dance Off-Broadway, Regionally, and internationally, and has worked as an associate designer on Broadway, Off-Broadway, and Regionally. Recent design credits include: The Great Leap (Atlantic Theater Company); Van Gogh’s Ear (Ensemble for the Romantic Century - Drama Desk Nomination); Frankenstein (Dallas Theater Center); Rockin' Road To Dublin (National Tour); Assembled Identity (HERE); Uncommon Sense (Tectonic Theater Project); The Temple Bombing (Alliance Theatre); Conference of the Birds (Boston Center for the Arts); SPILL (Ensemble Studio Theatre); Anna Akhmatova (ERC/BAM), Jules Verne From The Earth To The Moon (ERC/BAM); Ring of Fire (Endstation Theatre); The Tempest (Classic Stage Company/The Young Company); Kill Me Like You Mean It (Stolen Chair); Two Point Oh (59E59); I Forgive You Ronald Reagan, The Sensational Josephine Baker (Theatre Row); The Orion Experience (XL).
Katherine Freer is a multimedia designer working in theater, installation, and film. Frequent collaborations include Liz Leman, Ping Chong, Ty Defoe, Carl Cofield, Tim Bond Kamilah Forbes, Talvin Wilks, Andrew Scoville, and Tamilla Woodard. Recent designs: Ajijaak on Turtle Island (New Victory, dir. Ty Defoe and Heather Henson), By the Way, Meet Vera Stark (Signature Theater, dir. Kamilah Forbes), the Convent (ArtNY, dir. Daniel Talbott), Antigone (Richard Rogers Amphitheater, dir. Carl Cofield), Cellular Songs (BAM Harvey, by Meredith Monk), Next to Normal (Syracuse Stage, dir. Bob Hupp), The Curious Incident of the Dog in the Night Time (Syracuse Stage, dir. Risa Brainin). Katherine is a proud member of USA829 and Wingspace Theatrical Design.
Most academics never read the strategic plans written by their institutions as they are seen as an administrative hoop used for assessment (yuck). But I am here to show how leaning into administrative assessments via strategic plans can help you get what you need while helping administrators get what they need- a win-win. This webinar will walk through the process of deciphering a strategic plan for the purpose of requesting resources and/or equipment in a way that supports administrative assessment goals. .
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Presenter: Frani Geiger Rollins (Assistant Professor of Design and Technology @Mercer University) earned her M.F.A. from the University of Oregon, and her B.A. in Theatre at Wesleyan University in Middletown, Connecticut. She is the Poster Session Chair for USITT’s Education Commission Poster Session. Her current research interests focus on the relationships between administration and programs in Higher Education, and the scholarship of learning and teaching theatre at the University Level.
ANSI E1.11 This video is a brief overview of one of ESTA’s most popular standards, E1.11, DMX512-A. This control protocol is nearly ubiquitous in the entertainment lighting industry, used in a host of luminaires, lighting effects, special effects, house lighting systems, video servers, and more. The standard is simple and effective, specifying everything about the protocol, including the structure of the data packets, the electrical interface, and the physical connectors. Viewers will get a basic overview of the standard and be informed where to download it for free, courtesy of ProSight Specialty Insurance.
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Presenter: Erin Grabe, Assistant Technical Standards Manager, holds a Bachelor of Technology in Entertainment Technology from the New York City College of Technology. Since February 2013, she has been the Assistant Technical Standards Manager for ESTA's Technical Standards Program, the only ANSI-Accredited standards developer for the entertainment technology industry. She also serves as a technical resource to ESTA's members. As of October 2014, Erin has also been the administrator for ESTA's association management database.
On June 11, 2013, a small niche Facebook Group was created by two members of the George Izenour Penn State project. The intent was to allow its participants to continue the conversations they started and share their discoveries post-project. Little did the creators realize that what was intended to be for a few people would turn into something much greater; something that would grow beyond the borders of its intention and become a worldwide meeting spot for artists, researchers, students, and teachers alike. Come join us as we discuss how an online approach can help you find information to old problems and listen as we share stories of how this group impacted our work and what the future may hold.
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Presenters:
Wendy Waszut-Barrett is an historical consultant and artist, specializing in the restoration and replication of painted scenery for historic performance venues such as the Ancient and Accepted Scottish Rite of Freemasonry. Her passion, however, is the preservation of theatrical heritage and the continued training in historical scene painting techniques. Waszut-Barrett also works as a scenic art instructor across the country, sharing her knowledge of the dry pigment paint system and studio style that was used to create historical scenery during the turn-of-the-twentieth century.
R.W. (Rick) Boychuk has been a student, teacher, technical director, IA Stagehand, designer and recently inventor, and now an author. A graduate of University of Saskatchewan in technical theater, he has worked in the industry for over 40 years. Rick owns and operates Grid Well, Inc in Toronto, Ontario Canada.
Richard Bryant is the founder of the ATTH FB Group and an Assistant Professor at the University of Trinidad and Tobago's Academy for the Performing Arts. He holds a BFA (Theatre) for the University of Illinois Urbana Champaign and an MA (Drama) from Roosevelt University in Chicago. The interest into theatre production research began with a USITT sponsored project at Penn State on the George Izenour Collection and he hasn't looked back since. He serves as a member of the USITT Publications Committee and is currently the USITT representative to the OISTAT Publication and Communication Committee.
Josh Epstein, a lighting designer and the founder of Cuelist Software, helps users move their tech process collaboration to the digital realm. Learn how updating and annotating scripts, describing cues, sharing information, and making changes can now be an instantaneous, collaborative, and environmentally friendly process. Whether face-to-face in the theater or online during a theoretical project, Cuelist can help you communicate all your project information in real-time. Thank you to our exhibitor for offering this session.
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Presenter: Josh Epstein Cuelist founder, Josh Epstein has been a professional lighting designer for 20 years. He has designed at many of the top regional theaters in the country including the Guthrie Theater, Goodman Theater, Mark Taper Forum, Alliance Theater and Pasadena Playhouse. He is currently on faculty at the USC School of Dramatic Arts.
ANSI E1.14 This video is a brief synopsis of E1.14, which applies to the instruction manuals for fog-making equipment manufactured for use in the entertainment industry. In order to use fog safely and effectively, the user must have some general knowledge of the technology, have a clear understanding of how to operate the fog making system, and be aware of the potential hazards related to the use of fog, and particularly the system being used. This standard is designed to establish guidelines for manufacturers to provide to the user the necessary information required for the safe and responsible use of fog equipment. Viewers of the video can find out where to download the standard for free, courtesy of ProSight Specialty Insurance.
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Presenter: Erin Grabe, Assistant Technical Standards Manager, holds a Bachelor of Technology in Entertainment Technology from the New York City College of Technology. Since February 2013, she has been the Assistant Technical Standards Manager for ESTA's Technical Standards Program, the only ANSI-Accredited standards developer for the entertainment technology industry. She also serves as a technical resource to ESTA's members. As of October 2014, Erin has also been the administrator for ESTA's association management database.