Theatre Green Book One Toolkit – Technical
• Increase the use of Pre Vis for LD’s, this relies heavily on design deadlines being met to allow time for 3D model and of course enough ideas from rehearsals to formulate anything worthwhile in the virtual world.
• Borrow practicals from other LDs or Theatres where possible
• Glass cleaner can be made with vinegar and water
• Do you need canned compressed air, or could you invest in a workshop compressor?
• Use rubber anchor bands to secure the extension cables
• Have more onsite storage than relying on weekly van runs, and resist one off’s to get that piece of kit
• Think about whether any “emergency” kit really needs to be rush ordered, or if it can wait a day or two to be delivered with other items rather than requiring a van of its own.
• If possible, coordinate deliveries with other departments
• Standardise procurement of LED tape, connectors and consumables, for cost efficiencies as well as avoiding silo orders and ideally from veritable suppliers, rather than just the cheapest from Amazon, as budgets may have required.
•Move away from PVC tape unless absolutely necessary and continue to explore plug labelling alternatives.
• Reusable cable ties and bungees are better. Some business waste companies will recycle cable ties at their end of life
•ADMIRAL Staging | T-Fix 4cm 50 pieces
• Cloth ties are better still
• Chalk pens to mark out positions on stage for lighting equipment till positions have been set during the rehearsal process, instead of using lots of PVC plastic tape.
• Paint pens to mark-up lighting rigged onto scenic elements instead of single use PVC plastic tape. Paint pens were also used to mark-up the standard rig of lighting equipment permanent positions instead of PVC plastic tape.
• Re-use gel whenever possible
• Consider whether you REALLY need a specific colour, or whether a similar one that’s already in stock would do
• Leave Gel behind at the final venue on a tour, to add to their stock
• When gel burns out or fades, bag it up and offer it out to local schools, nurseries & kids’ clubs – they love it for crafting
• Failing that, Lee Filters are recyclable (as Dry Mixed Recyclables)
• Consider using dichroic filters instead of gel for long term installations
• Use rechargeable batteries if needed for set/prop practicals, torches, & other equipment
• Use lower wattage lamps where possible (500W instead of 650W for units in studio settings, or 375W in S4s. Do you really need 1200W in your Cantatas in the main house, or would 1000W do?)
• Fade up lights when focussing, and try focussing at 80%, or even less!
• Where possible, request that suppliers send items via electric fleet, or carbon neutral courier.
• Use the closest hire provider you can find
– Ask for their sustainability policy
• When hiring, try and ensure enough spares are included to cover the full run – to avoid the additional carbon cost of having replacements shipped out.
Establish procedures for working in an energy efficient way. This includes switch-off routines: switching off discharge lighting between the end of the reset or rig check and the half hour call before the show starts, and between matinee and evening performances; turning off dimmer racks, PSUs, drivers and other tech overnight.
Prevent a culture of continual upgrades and bespoke items. This could include accepting older equipment models
Ensure safe channels available for refurbishing or disposing of electronic equipment
Follow best practice in disposal of waste. For electrical equipment, this includes recycling blown bulbs and equipment. Efforts can be made to work with suppliers to take back equipment to be repurposed and refurbished.
Consider how materials can be reused, donated, repurposed, recycled or stored for future use at production completion. This includes bespoke lights and equipment, screens, stage lighting gels, practicals etc.
identify possible sustainable disposal routes. For AV this could include contracts agreeing to refurbish and mend broken equipment.