An exciting opportunity to work with two of the world's most successful playwrights, Alan Ayckbourn and John Godber, is being offered in Scarborough this summer from 21-25 July. The Stephen Joseph Theatre School 2002 is a four-day course giving participants the chance to see Alan Ayckbourn at work in his home theatre with his acting company.
Alan Ayckbourn will be leading two full days of rehearsal, technical and playwriting workshops, giving a unique opportunity to work with the acclaimed playwright and director. John Godber, artistic director of Hull Truck Theatre, will be joining the school (subject to availability) to offer his own perspective on writing, directing and running a theatre company.
The Stephen Joseph Theatre School features a busy programme of workshops, discussions and lectures concentrated on Alan Ayckbourn and his work in the round. It is hoped that Gwenda Hughes, artistic director of the New Vic Theatre in Newcastle-under-Lyme, will also be able to add her knowledge and skills to the team of theatrical experts.
The School includes tickets to see the new Alan Ayckbourn play, Snake in the Grass, and his classic comedy, Joking Apart. It also includes two exclusive social events with Alan Ayckbourn and his acting company, as well as other evening events. The cost of the full course is just £590. Individual days can also be booked. Last year, the first Theatre School attracted students from America, Switzerland, Spain, Egypt and throughout the UK. The response to the course was universally positive and this year's course will be buildin
That is the upbeat message from PLASA’s new Show Director, Sue Saint. Celebrating its 25th year, the PLASA Show is the world’s pre-eminent light, sound and audio-visual event, attracting major brands every year, and this year is no exception.
Stand bookings are currently at 82%, with top names such as Vari-Lite, Sennheiser, Martin Professional, Denon, BSS Audio and Total Fabrication already booked. The show pulls in over 13,000 visitors from the UK and abroad each year, having become the main marketplace for the £11billion entertainment technology industry.
"The show is evolving continually," commented Saint, "and one of the key trends emerging is the growing number of manufacturers choosing to exhibit in their own right, rather than rely solely on representation through distributors. In addition, many long-standing exhibitors, including Numark, Peavey, Sound Technology, Avolites and SGM, have reaffirmed the importance of PLASA by booking larger stands. Other major industry players are also recognizing the role the show can play in developing their businesses and this year will see Marantz, Tascam and Duran Audio exhibiting for the first time. All this is happening at a time when the economy generally has been talked down, but the increased interest in the show is clear evidence that the market is picking up and that the PLASA Show is an integral part of the exhibitors’ marketing armoury."
Steve Warren, sales director of Avolites, an exhibitor at the show for the past 13 years, added: "The PLASA Show is clearly the most imp
Over recent years, we’ve drawn readers’ attention to the worrying number of letters emanating from African countries, principally Nigeria, which are blatant attempts to rip companies off.
Previously the scam has involved close relatives meeting untimely deaths, but not before they’ve managed to siphon off large amounts of government money. However, useful as this formula has been in the past, it seems the tactics have now changed. In a recent letter to a PLASA member from Abba & Abba Trade Distribution Industry, the company’s Frederick Moore has asked to see price lists on the basis that he is looking to place an order for nine 40’ container loads of product. The financing, he claims, will come from money diverted from under the noses of the Nigerian government.
As so often in the past, PLASA members are being targeted heavily and we have taken numerous calls on the subject. Whatever else you do, don’t fall for it. It’s a long way down.
West End theatre members of BECTU have voted to accept a pay rise worth 11.3% on average.
In a ballot of BECTU members throughout London’s commercial theatreland, 71% voted in favour of the offer. Members are now set for a further pay rise in October 2002, worth 4%, or inflation plus 1%, whichever is greater. The two-stage offer put to members was tabled by employers, the Society of West End Theatres, in response to an earlier ballot in which 96% of union members in the sector had voted in favour of industrial action. "This is a significant first step in the union’s campaign to end low pay among theatre workers," BECTU organizer Mark David-Gray told us. Originally, the employers had tabled a pay rise of only 1.6%, prompting a determined campaign by BECTU to fight low pay in the West End. Since then its membership in theatreland has increased by more than 30%.
PLASA’s Industry Day will take place on Friday 14th June at Down Hall Country House Hotel in Hertfordshire.
The day, which will be built around the Association’s AGM, will offer plenty of opportunity for members to network with others in the industry, as well as giving them a chance to discuss key issues in the Break-out Sessions which follow the AGM.
The day starts with a buffet lunch, with the formal business of the AGM beginning between 2 and 3pm. This will give members a chance to hear about the Association’s year and learn about future objectives.
Building on the success of last year, the Break-out Sessions will focus on issues such as Standards, Health & Safety, Human Resources, Employment Law, Training and Membership Services.
The Industry Dinner will complete the day’s activities, beginning with pre-dinner drinks. As in previous years, two after-dinner speakers have been booked for the event - Paul Fletcher and Kevin Connelly.
Paul Fletcher is one of a handful of professional footballers that has made the successful transition from team sheet to balance sheet. Following a 16-year career as a professional footballer, he then started a second career that saw him become chief executive of two of the finest football club stadiums to be built in this country. More recently he was appointed director of commercial affairs at the new £400million Wembley Stadium redevelopment in April 1999, walking away from it 18 months later, three months before the project collapsed.
Kevin Connelly is an impressionist who has a number of television
PLASA has negotiated significant discounts on the cost of exhibiting at PALA (Pro Audio & Light Asia). The Association has also obtained UK government funding for this event and eligible UK companies can make further savings on costs.
The PALA show features exhibitors covering pro audio, lighting, club, broadcast and music. Exhibitors can expect to meet potential buyers including agents, dealers, distributors and end-users from across Asia. Hong Kong is considered to be the gateway for trade to China, and with PALA being held here for the first time, more visitors are expected to attend from Taiwan, Korea, China and Japan, in addition to regular visitors from India, Singapore, Thailand, Malaysia, Indonesia and the Philippines.
The DTI’s SESA (Support for Exhibitions & Seminars Abroad) funding will re-imburse eligible UK companies 60% of stand, construction and freight costs, up to a ceiling of £2,300. Those sharing a stand with a distributor may still receive support for the portion of the stand that they occupy. As Hong Kong is deemed a separate region from mainland China, those who have already claimed their maximum SESA support for exhibiting in China can still apply for support for the PALA show.
Applications for SESA support must be sent to PLASA by 3 May 2002.
For full details contact PLASA on
Following a vote earlier in March in favour of strike action, members of BECTU (which represents backstage, ticketing and box office staff) are now back round the table with the Society of London Theatres (SOLT) to discuss an improved pay offer for members.
In an industrial action ballot which closed on March 19, more than 96% of BECTU members working at London's West End theatres voted to strike in support of the union's campaign to banish low pay. BECTU delayed publishing the ballot result while SOLT made last-minute efforts to improve the pay offer that members had rejected. After more than two days of closed-door negotiations, the employers tabled a new package, backdated to February 11. At a mass meeting on March 22, members voted to run a secret ballot on the new proposals, without any recommendation to accept or reject.
The two-stage pay offer includes an average 6% increase for front-of-house staff; pay rises worth up to £1040 per year for technical staff working 40 hours per week; a further across-the-board increase on October 7 of 4%, or RPI plus 1%, whichever is higher; three months of discussions at a joint forum to draft a ‘modernised collective agreement’, which will include career opportunities and work/life balance. Across the ten staff grades covered by the union's collective agreement with SOLT, the new offer is equal to an average 11.3% increase by the time of the next pay anniversary of October 2003.
"This beats the Low Pay Unit threshold of £6.82 per hour, and is a first step to tackling poverty pay among theatre workers,"
The charity event ‘Reaching out for Africa’, a gospel spectacular which took place at London's Royal Albert Hall on Sunday March 10, was literally ‘A day in the life of ‘ for the production and rental companies involved. Organized by Patti Boulaye to raise money for Support for Africa, a charity she founded to inform people of the terrible effect that AIDS and malaria are having in Sub-Saharan Africa, this one-off event had just a 24 hour schedule, from load-in to get-out.
Produced by Sir Michael Parker, the event was almost a rehearsal for The Queen's Golden Jubilee celebrations, with which he will also be involved. The 3,000 strong choir, drawn from schools, churches and choirs across the UK, Europe and Africa, will go on to form part of the 5,000-strong Golden Jubilee Gospel Choir which will sing at Buckingham Palace in June.
Lighting the show on behalf of Fourth Phase, LD Michael Odam - who signed in at the Royal Albert Hall at 6am and signed out 16 hours later - had an unusual brief from the rental company: to use as much of Royal Albert Hall's own lighting rig as possible! As a charity event, the organizers wanted to keep additional costs to a minimum. "The trick with an event such as this," said Michael, "is to not be too ambitious and the Hall has a sizeable lighting rig of its own. I specified a Whole Hog II desk from Fourth Phase, added 30 moving lights, including Mac 500s, Mac 600s and Studio Spot, to the existing rig, and we also had a Cirrolite hazer and Jem fog machine, plus a Reel EFX Sky Dancer Fan. While you can ne
The first Showman’s Show North was declared a success by visitors and exhibitors, as event professionals from the North of Britain gathered at the exhibition on the Great Yorkshire Showground, Harrogate this March.
Over 100 exhibitors and 656 visitors engaged in business in the relaxed atmosphere created at Showman’s North. Whilst not vast in size, the show drew event professionals from all sectors of the events’ industry with visitors ranging across representatives from Council events departments, the Manchester 2002 Commonwealth Games, agricultural shows, corporate and exhibition organizers and event management companies.
Whilst many of the visitors were looking at events for the coming 2002 season, exhibitors also reported taking enquiries for the 2003 season. The exhibitors at the show certainly represented a good cross section of event suppliers. On the avenue from the car park to the exhibition hall visitors passed through the outdoor section of the show flanked by stands ranging from giant outdoor screens and stages, through to entertainment, signage and banner suppliers and caterers. One of the last exhibits visitors passed before entering the main hall attracted the most media attention. ‘Phoenix the calf’ represented a symbol of hope for the countryside during the worst moments of last year’s foot and mouth crisis, and her presence at the Showman’s North was significant in that she was the first livestock to be allowed back onto a showground since the crisis.
Inside the main exhibition hall the diversity of supplier
Following increased demand for its rental products in and around the capital, trussing and staging specialist Litestructures has opened a new hire operation based in Wanstead, East London. Strategically positioned close to the City and the newer docklands venues of Excel and the Arena, the location also allows easy access to the north circular and M25, offering excellent links to the wider region.
The operation is being fronted by Emma Church, who re-joins the company after a two year break, and who has a wealth of product knowledge gained from the three years she spent working at Litestructures’ head office in Wakefield.
The key products available for hire include the Astralite Original 3 truss range, the Litedeck stage units/system and the Litedeck rolling risers, which are proving increasingly popular thanks to the fact that they greatly reduce set-up times at gigs where several bands appear on the same stage. These rolling risers are also very useful during load-ins, doubling as ‘dollies’ for transporting equipment between truck and stage.
Litestructures London can be contacted at Unit 2 Kubrick Business Centre, Station Approach, Wanstead Park, London, E7 0HU, UK. Telephone: +44 208 221 1196.
(Ruth Rossington)
The new Artistic Licence discussion forum is now up and running. In addition to offering technical support for the company’s product range, the company is actively promoting an open discussion of the technical standards issues facing the industry. So if you have a view or need more information on ACN, DMX512-A, RDM or Art-Net, the Artistic Licence Forum is the place to visit.
(Ruth Rossington)
Stars from the British and American film industries braved the atrocious London weather, crossing the rain-soaked red carpet into the Odeon, Leicester Square for this year’s Orange British Academy Film Awards (BAFTAs).
With the event now acting as a curtain raiser for the Oscars, and transferring to BBC television for the first time, the event’s profile was higher than ever this year. Helping to keep it sky high were Creative Technology, who flew 84 modules of the new Barco i10 high brightness LED display - its most prestigious outing to date. The screen was configured as a 12 x 7 display (in 16:9 aspect ratio), and attached to four CM Lodestar motors. "Having done the Orange British Academy Film Awards for the last two years we were again asked to provide image magnification based on our successful track record," said CT’s director of sales, Guy Mapley. "We opted to use the i10 based on its added punch and brightness." He added that one of the benefits of the new 10mm pixel pitch displays was its ease of rigging.
To service the circle and balcony two 12ft wide side screens were flown - again in 16x9 aspect ratio - projected from Christie Digital DLP X6 Roadsters. The feeds, taken directly from the OB truck, were a combination of live camera, graphics and VT inserts. The show was produced for the BBC by Initial TV. Production manager was Sophie Huda, while Lisa Chapman was show producer. The latter paid tribute to the technical expertise of the production, stating that the rigging time in particular had been swift. She added that
The Association’s annual 2002 AGM and Industry Dinner will take place on Friday 14 June at Down Hall Country House Hotel, situated in Hatfield Heath, Hertfordshire. As in previous years, the AGM will provide members with an opportunity to learn more about the work of the Association and give them time to network with other members.
Information about the event and booking details will be sent to the membership shortly, but if you have any queries in the meantime, feel free to contact Helen Willis on.
The march of constant change in employment law and regulations carries on unabated! Key issues affecting all employers seem to arise almost every day. There have been a number of key changes in recent months which members should be aware of.
8 From 1st February 2002, the new maximum award for unfair dismissal increased to £60,100 made up of a maximum compensatory award of £52,600 and £7,500 basic award. Compensation for unlawful sex, race and disability discrimination remains unlimited.
8 In October 2001 the requirement in the Working Time Regulations that a worker must be employed for 13 weeks before becoming entitled to the statutory four weeks paid annual leave became illegal. Workers are now entitled to paid leave from day one of their employment, although in the first year it can be taken by accruing it at the rate of one twelfth of their full entitlement every month.
The Maternity and Parental Leave (Amendment) Regulations have changed the following rules:
Parents of children born or placed with them for adoption between 15 December 1994 and 14 December 1999 may take parental leave in respect of such children
Parents have three years in which to take their parental leave
Parental leave for parents of disabled children is increased from 13 to 18 weeks
Amongst the main points of the Employment Bill 2001 some of the most significant proposals are intended to reduce the current yearly 130,000 tribunal applications. In particular, there are some controversial measures intended to stop employees from lodging tribunal claims before exhausting company grievan
With Health and Safety considerations becoming more and more important throughout the industry thanks to increased regulatory control, the PLASA standards office has introduced a new Health and Safety Forum on the PLASA website.
Ron Bonner, PLASA’s new Health and Safety Standards Officer hopes that members will make use of the Forum to debate and offer comment on all aspects of Health and Safety issues that are having, or may have an impact, on the way in which they conduct their business. The Forum will also serve as a useful reference on how other members are approaching their duty to this very important and necessary area.
The Forum is open to members only and can be accessed via password by logging on to the PLASA website at
John ‘Brad’ Bradshaw, formerly of Triflite Cases (Trifibre Containers), has started a new Flightcase business called Dragon Cases based in Cwmbran, South Wales. Brad - a well-known face in the industry - started his career in flightcases at Autopia some 15 years ago. After being made redundant after five years from Trifibre in December of last year, he returned to Autopia (then renamed as Encaseit) for a couple of weeks until again being made redundant after the receivers were called in on 16 January.
Brad will be working in partnership with Nomad Cases, a manufacturer of custom-built flightcases, polypropylene cases and padded bags, based in Market Harborough, Leicestershire.
(Lee Baldock)
Brand experience consultancy Hotcakes has made two new appointments to its rapidly expanding team. Tracey Poulton, founder of sponsorship and production company The Staging House, has joined as associate producer. Working closely with Matt Briggs (producer and client services) and Sean Canning (creative director), Tracey will manage the implementation of projects, co-ordinating and overseeing all elements of production, bringing additional creative input to the conceptual stages of each job, liaising closely with clients and assisting in new business development.
Jason Ward moves from his post at global conference and exhibition company Mice International to join as production manager. Ward, who moves from London to the company’s headquarters in Skipton, will manage technical design and resourcing, freelance production staff, and the scheduling, technical and administrative requirements on each project.
"These appointments will give our rapidly expanding team enormous support in both client services and production expertise at all levels," said managing director Chris Spencer.
(Lee Baldock)
This month sees the launch of PE Consulting, introduced to provide business development expertise to entertainment technology and themed entertainment companies that wish to grow business in new markets and countries.
Developed by Peter Ed, who, since beginning his career at Theatre Projects in 1978, has worked with some of the industry’s most influential entertainment technology companies, PE Consulting helps its clients towards a clear definition of their objectives and the method of achieving them. "The most successful companies involve everyone pulling in the same direction and all resources having the same end in mind," said Ed. "PE Consulting looks at all aspects of marketing from growth planning and international market development, marketing strategy and product pricing, to internet marketing and customer relationship management, image building and public relations. As an external consultancy with an impartial viewpoint, PE Consulting enables its clients to focus more clearly on the direction of their organization, advises on what resources and which elements of the marketing mix are most appropriate to achieve these objectives, and sets it all out in a detailed, time framed plan."
Peter is well known to many people in the entertainment industry and has approaching 25 years experience in practically every aspect of his profession. He has previously worked with ARRI (GB), Strand Lighting and ETC and as a result worked throughout Europe, North America and Asia in various market sectors, including the cruise and leisure industries. He was
Sarner and ESP have combined resources to provide a creative solution for Liverpool’s new multi-million pound International Astronomy and Space Centre (IASC).
Sarner, which has recently been bought-out by two of its directors, Michael Bennett and Ross Magri, will be responsible for the design and production of special effects for the new visitor attraction, while ESP will project-manage the fit-out of the centre, bringing life to the dramatic designs - from the spectacular hanging celestial sphere, through to the ‘Journey To The Stars’ space-time machine.
IASC, which is part of the continued regeneration of Liverpool’s Wirral district, is scheduled for completion in Easter 2003.
Visitors will be taken on an interactive journey through time and space using multi-sensory technology, simulated time travel, projection and special effects.
Trouble continues to rumble on in the West End: BECTU members - including lighting, audio and backstage staff -have voted to take industrial action over low pay.
The move comes after lengthy negotiations with the Society of London Theatres (SOLT) - the association which represents the producers, theatre owners and managers of 50 theatres in central London. Even an eight- hour session at ACAS couldn’t help the two sides resolve their differences.
In the latest round of talks SOLT increased its original offer from 1.6% to 3.25%, but withdrew its undertaking to backdate the award to 18 November 2001. This would increase the average wage to £6.54 an hour, but, according to the union, would still leave seven of the West End theatres’ 10 pay grades below the Council of Europe's £7.39 decency threshold - and five below the Low Pay Unit’s threshold of £6.82.
BECTU says that London’s theatres can look back over three years of good profits, and should be able to fund pay increases. If agreement isn’t reached soon, theatres in the West End may well go dark.
Familiar faces from all aspects of the lighting industry visited White Light’s new base during a successful open day in January. The new facility in Wimbledon, London, SW19, has 35,000sq.ft of equipment storage and preparation space and 10,000sq.ft of office space, allowing all the Group members to be brought together under one roof for the first time.
"We had close to one hundred visitors," notes White Light’s general manager Bryan Raven, "many of whom hadn’t had the chance to visit our new building since we moved here last October. I think they were quite surprised at the difference between our old base in Fulham and where we are now - but were relieved to discover that all of the familiar White Light faces they know are still here. Albeit all with a little more room to work in!"
Amongst those at the open day were theatre lighting designers Simon Corder, Rick Fisher, Mike Gunning, Geoff Joyce, Jenny Kagan, Bruno Poet, Nick Richings; television lighting designers Bernie Davies and John Watt; production electricians Alistair Grant, Gerry Amies, Tony Simpson; staff members from the RSC, the National, Guildhall and LAMDA, as well as many other West End and regional theatres. Other guests included representatives from White Light’s many suppliers, including Mark White from ETC, Don Hindle from CCT, Francois Juliat from Robert Juliat and Claus Puggard from Martin Professional. "We did notice that we also had visitors from some of the other rental companies, presumably just checking up on how we were doing!" comments Bry
Ra’alloy was formed in 1995 in a small workshop in Fordhouses, Wolverhampton, to fabricate aluminium products. One of its early successes was a special anti-slip aluminium ramp system for trucking and disabled use, which has since earned worldwide acclaim. The £350,000 facility, part-funded by a Government Enterprise grant, will allow the company to develop its business further.
Part of that objective will be met by Ra’alloy’s new modular aluminium stage system - Rapi-Stage - which incorporates integral truss supports eliminating ground support, and allowing virtually any shape platform to be erected. Designed in conjunction with a temporary staging structural engineer, and within the guidelines set by The Institute of Structural Engineers, the system complies with all loadings and maintains lateral stability. Rapi-Stage can be used as an extension to an existing stage or as a freestanding structure complete with an Ra’alloy truss and roof system, which is due for launch shortly.
Ra’alloy’s founder Graham Corfield (left) is pictured with Rob Marris MP at the official opening.
Once a small lighting service company, Bytecraft has grown over the last 17 years to become one of the most significant players in the Australian industry, and has, in the process, earned itself a worldwide reputation for its audacious approach to everything it undertakes. Andy Ciddor reports . . .
In common with many other companies in the entertainment industry, Bytecraft owes its existence to dear old Strand Electric. During Strand’s sojourn as part of the Rank organization, it operated in Australia as part of Rank Electronics, a company that manufactured and marketed everything from telecine chains and stage machinery to consumer electronics and language laboratories. Amongst other projects, Rank Electronics had won the contracts to supply the stage lifts and wagons, lighting and audio to the Victorian Arts Centre (VAC), in Melbourne. The project was in the process of completion and handover in early 1984, when that well-muscled chap with the big gong decided to dispose of many parts of the organization, including the theatrical equipment division.
As the new owners were not interested in purchasing the warranty and maintenance part of the project, Rank contracted their VAC project manager, Ted Fregon, to take on the task. Fregon, an electronics engineer who had originally been hired as the project engineer for the VAC stage machinery, undertook this work through his one-person company, Fregon Systems. He then hired two other former Rank Electronics employees: audio service technician Peter Bay and stage machinery technician Joe Krnjak. To service the lightin
The Arcimboldi Theatre - temporary home to the La Scala Opera company whilst its famous home is being renovated - has found itself in the news again just weeks after opening.
A glass panel, one of 100 designed to improve acoustics at the venue, fell onto seating during a recent performance of the ballet Excelsior. Fortunately, the seats beneath were empty, cleared because technicians felt uneasy about cracks that had started to appear in some of the panels. Inevitably, this has led commentators to speculate on the safety of the theatre, which was constructed in just over two years in order to be ready for the start of the 2002 season. The theatre is currently closed whilst further investigations takes place.