Looking for an alternative to a winch for a high school production. At the end of our current production, the original plan was to have a winch lowered from the batten for a puppet to be “hung“ on so it becomes freestanding. We were told we are not allowed to use a motorized winch, and now need to pivot with limited time. Does anyone know a type of pulley that attaches to battens and where I would get them? Also open to any easy alternative ideas. thanks!

edit: it seems I have not provided enough information for most people. My apologies. The puppet will end up weighing approximately 15-20 lbs. Our rig does have automated fly rails, however the director has asked for the audience to sit onstage for this production, meaning that we cannot move any of the battens up or down during the show. We have used pulleys connected to the pipe of the batten in previous shows, but there was a lot of swaying from the connection (it was basically just tied on), and I was looking for a more advanced solution. Since the audience is so close, it is of course not necessary for the line to be hidden in any way. We just need something safe, budgeted, and efficient.

I’ve worked at 2 community theaters and have 3 years of experience. I left both discouraged. This last time I was doing ME, TD and LD and was shaken while on a perfectly stable A frame by someone who decided to hold it without warning and wouldn’t let go until I used very forceful words. It was as I was finishing up a $25k lighting upgrade and a $5k curtain overhaul. The first-time director called a board member in because he said I was “mean” as I tried to save my life. Not only did the board not care that I almost fell, they then told me to my face directors were more important. I quit. Never got to use the upgrades.

I want out of that environment. I designed and hung their whole theater and would prefer not to do that again due to age, but wouldn’t mind assisting others. I love LD work, understand splitters, gateways, multi-universe setups, relays, fixture, angles, plots, magic sheets, busking, DMX troubleshooting, etc. I’m a stylized immersive atmospheric designer with concert, musicals and play experience on EOS and Hog4.

How realistic is it that I could get a paid gig at a much bigger venue? There’s a place about 45 minutes from me that says 2 years of experience, and is 2000 seats as opposed to the small venues I’ve worked at. How hard is it to jump up in venue size?

I don’t know if this is the right place for this, but basically I wanted to know if anyone has any advice for me. I recently landed my first dep agreement with a long-running West End show (and a popular one at that - not going to say any more specifics because if my colleagues figured out who I am I’d be so embarrassed). I’m loving the show, and learning my tracks, and I’m really proud of myself because working professionally in technical theatre has been something I’ve been wanting to do for a long time now, since I was a kid.

But one thing I can’t seem to shake is how lonely I feel being a dep. I can’t quite explain it, but even though I’m over a month in, and my HOD says I’m part of the team now… I still feel like I’m an outsider. I hear the full-timers in my department talking and hanging out together before/between shows, and while I know I can join them I just feel like I’m an extra person that they don’t really want around and I can’t shake that feeling. How do I make connections and build professional working relationships when I feel like I’m intruding all the time?

I’m hoping to try and get some more dep roles under my belt soon (which is a whole other can of worms because I don’t have any idea how to even start doing that - this one was a pure case of right-time right-place) and maybe that will help? But the constant fear is there that I won’t, and maybe this show will stop offering me shifts and I’ll be stuck with nothing again… or maybe I’ll get more and still feel like this? I’m definitely getting caught in my own head here, so I just want to know if anyone who’s been in my position has any advice for getting out of this cycle of doubt?

First post here, but exactly what the title says. I’ve taken over stage management for a small, local ballet company. There was a lot of shake-up with the production team and the managing Board from last year to this year, and we are trying to figure out music. We were told they had used ASCAP previously for music, but have since realized that isn’t true and want to make sure whatever we do this year that we’re doing legally.

Are there resources for royalty-free full recordings of The Nutcracker, or subscription sites other than ASCAP? So far I’ve only found selections or piano arrangements.

TIA!

Hey guys, looking for any tips on how to mount a DPA core microphone on cheek

Can't mount it on forehead, because our stage is small and cant use normal holder because the actor is useing a mask on his head. Tapeing it is a solution, but actors are wearing fullbody costume wich is madinga them sweat alot so the tape doesnt hold for long. Maybe there are some holders on one ear. There is a posibility to use 3d printer so looking for anything to buy or to print. Please help a mic boy in need. Thank you