Photo courtesy of Eric Rouse.
One of the true joys of working in the theatrical design business is meeting good people along your career path. I met Eric Rouse several years ago when he served as technical director for the Central City Opera. I soon learned of his amazing background and specialization in rigging and scenic technology. One of Eric's most impressive accomplishments was his rigging work on Cirque du Soleil's production of “O.”
For the readers who have not seen this amazing production, the objects that fly around the stage over the performer's heads, as well as over the audience's heads, are truly astonishing. They include flying horses, large ships, and hot air balloon baskets (as well as the performers themselves).
So when I was asked to write an article on the state of the rigging art, [Rouse] was the first person I thought of.
DJ (David Jacques): Your impressive career spans both the professional and educational worlds. For instance, you worked for Cirque du Soleil or many years, but also headed the MFA in Scenic Technology Program at Penn State. Now that you are Technical Director at the Denver Center Theatre Co., do you miss teaching?
ER (Eric Rouse): Well, I still teach through my educational seminars. I teach several rigging seminars a year across the country. These seminars are typically two or three day sessions that cover all aspects of theatre and arena style rigging. I don't get into detailed specifics of how to do the work; I get into the specifics of why we do what we do, and the math behind it. You can't become a rigger by taking my classes, but you can learn a few things that will prepare you to make informed decisions as you work alongside a seasoned rigger.
DJ: What was your most challenging rigging situation?
ER: This was a hard question. What defines challenging? Challenging in the sense that it was hard work, or in the sense that it truly tested my skills as a rigger and manager? Some of the most challenging moments have been confronting people that have been doing something wrong for a very long time and calling them out on it. In rigging this can be a very delicate and potentially expensive situation. The riggers are the first to arrive and the last to leave. If the rigging is delayed, the entire schedule gets messed up. Riggers are typically stubborn (myself included), a trait born of wanting to make sure things are right. But when something is wrong it is sometimes hard for a rigger to see that.
We are all used to doing things the way we do them. What if [we] learned how to do something the wrong way?
We are all used to doing things the way we do them. What if [we] learned how to do something the wrong way? Or what if you never really learned how to do something, but you figured out a way to get a job done and so far it has worked? I see this all the time when I perform inspections. Sometimes I have to point out that a rig is not designed properly. This can be for any number of reasons. Perhaps the wrong hardware is being used, or the right hardware is being used in the wrong way or maybe there is not enough of a safety factor in the system. Fortunately, rigging hardware is designed to be really strong so the stuff typically doesn't come crashing down. But that is no reason to engage in bad practices.
DJ: What new technologies are you seeing in the rigging industry?
ER: There are so many new technologies out there. What you see depends on what area of rigging you are in. There are some toys that an arena rigger might use that a theatre or church rigger will never have even heard of. Basic theatre rigging is largely unchanged because it works. It's adaptable and, if installed properly, is absolutely bulletproof. Arena rigging is largely the same as well for the same reasons. The cool parts are the little things we are adding here and there to make things easier and safer.
Basic theatre rigging is largely unchanged because it works ... it's adaptable....
The use of load cells is a huge trend that [started to take hold in 2017]. Load cells are essentially digital scales that can actively monitor loads and constantly pump the information to a digital readout or a computer. Load cells are critical with the loads we are seeing today. Even a “simple” LED wall rig can become a disaster, and load cells can help prevent it. If you have a 7,000-pound video wall with four one-ton hoists on it (which allow for a total load of 8,000 pounds) you would think you are safe. This is assuming that every single hoist is carrying its proper share of the load. Hoists are “dumb” machines. They start and stop hard and do not all run at the same speed. The variation in speed is small, but sometimes over a large distance it can make a big difference. One possible result is that after flying out your video wall, one hoist could be supporting much more than its share of the load. Unless the other hoists go slack, it is hard to tell that this has happened without some sort of load cell monitoring. Some hoists controllers are designed to shut down if a load spike occurs.
Load cells are critical with the loads we are seeing today. Even a “simple” LED wall rig can become a disaster, and load cells can help prevent it.
Automated systems are becoming more and more common in theatres and churches. The rate at which automation has improved over the past 15 years is absolutely mind-boggling. Systems today are capable of monitoring static and dynamic loads, ensuring that battens or single points are not overloaded. Variable speed chain hoists are another relatively recent piece of gear. They are used a lot for concerts and production shows. These are cue-able, can have very precise positioning and are capable of load monitoring as well.
Fall protection has become a very hot topic in recent years, and rightfully so.
Fall protection has become a very hot topic in recent years, and rightfully so. The gear is becoming very slick, comfortable and usable. Usability was always one of the big complaints. You can't complain about that now, and there is absolutely no excuse for not using fall protection when working at heights. In fact, it's against the law not to use it.
DJ: How do small- to medium-type theatres and churches take advantage of these technologies?
ER: Smaller venues need to do their research. They need to make sure that their money is being spent wisely in a very expensive market. Trends in our business tend to be dictated by “early adopters.” Unfortunately the “early adopters” usually have deep pockets. They are the ones you see on the cover of the big trade magazines. We become enamored with the technology and must have it. So maybe you can't buy a load cell system. Maybe you have to rent on a per gig basis depending on what you are doing. Look into used gear. There is no shame in that at all. Just make sure that it is from a reputable dealer and that there is some sort of warranty. There are many companies out there that rent automation for a very reasonable price. It all depends on what is reasonable to you.
DJ: What advice can you give volunteer organizations like small theatres and churches when they want to rig objects above the stage and the audience?
[The most important advice for churches] is to hire a professional rigger to consult on the job if your workforce is largely volunteer.
ER: I think that the most important thing is to hire a professional rigger to consult on the job if your workforce is largely volunteer. I have worked in dozens of small theatres and churches over the years and the most worry-some and consistent issue is the largely untrained staff that works during events. It is absolutely irresponsible to rig without trained and experienced people. Send a couple of your people to one of the many rigging seminars that are being offered out there. Encourage them to work at some of the larger venues in town, if you have any. This is a great way to see new things and to be exposed to new technologies and techniques.
DJ: What advice can you give young students who are interested in getting involved with rigging?
ER: Learn from the veterans. Do not try and re-invent the wheel … it's been done. Do not pretend you know everything. I can assure you that you do not. I don't know everything, so there is no way that you do. If you are committed to doing it for a living, try applying for internships or even a theatre program that does a good amount of rigging and automation.
Eric Rouse is the technical director at the Denver Center Theatre Co., and is a professional rigger, teacher and consultant. He can be reached at Erouse1@gmail.com.
[Editor's note: This piece was originally published in 2017.]
