Theatre Design & Technology - Spring 2019 - Public - 7

There is little argument a well-designed automated rigging
system offers operator safety and many theatre practitioners
want to move in this direction. The lack of desire by a theatre
consultant to integrate new technology is rarely the problem.
Theatre consultants within North America have been specifying and designing automated rigging systems for decades,
so this is not new territory. The steepest obstacle to using
more advanced technology is often the budget for new and
renovated performance spaces. A capable automated rigging
system costs several times that of manual counterweight.
Manual rigging is relatively inexpensive, and experienced users are far more common. Manual counterweight remains a
viable option which can be operated safely with proper training, and it requires far less costly regular maintenance. It is
not uncommon for educational facilities to request manual
and motorized systems because they are training grounds for
existing and future theatres.
The members of the ASTC are individual consultants, each
designing facilities and specifying the equipment to create
performing arts spaces of the highest caliber. We work with
owners, architects, and other design professionals collaboratively to achieve that end. We make recommendations based

on the needs and desires of an organization, then help them
develop a budget. You can be assured members of the ASTC
have an informed discussion with their clients on every project about the value and cost of automated rigging systems,
where it is merited. There is no single model for theatre construction; both educational and commercial theatres install
all types of rigging, depending upon their goals and budget.
In cases where automated rigging cannot be afforded, most
theatre consultants design with an eye toward future upgrades.
Mr. Ismaily unfairly suggests theatre consultants are to
blame for the continued specification of counterweight rigging in the U.S. If performance facilities in the U.S. relied
on substantial government funding, as many do abroad, automated rigging might also be the norm in this country. To
suggest this is the fault of professional theatre consultants
couldn't be further from the truth and is not supported by
the history of theatre design and construction in the United
States.
Respectfully,
Board of Directors, American Society of Theatre Consultants

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