Open Air Business May 2016

EVENTS
the wind through, bear in mind these
will also let the rain through too. Before
confirming your stage, ensure you receive
the calculations and check who will be
on standby during your event. It is critical
that any design clearly demonstrates the
amount of ballast needed to cope with
wind force, especially in winter.
In addition, there are strict guidelines
on the amount of deflection acceptable in
the masts and rigging once construction
is finished. Of course, no stage would
be complete without audio/visual
components and these can weigh several
tonnes depending on the equipment.
When designing the masts this weight
must always be factored in. Competency
to erect and dismantle stages is an
important factor to consider. Riggers
need to be specially trained to climb and
install components and so too must the
carpenters and scaffolders who put the
substructure together.
Where a stage is built on a vehicle
trailer to make it mobile most of the
above will still be relevant, except for the
substructure. Mobile stages also need to
meet requirements set out in the Road
Safety Regulations and VOSA.
It is a legitimate question to ask whether
buying a stage rather than hiring one is a
good investment. I would argue that hiring
is definitely the better option. Buying a
stage is not easy. There are many variables
to consider so, unless you’re going to
use it eight to 10 times per year and can
accommodate all of the above, hiring from
a reputable company is the best solution.
Stage positioning
Considerations on what surface to
place your stage will vary from venue to
venue. Your contractor may prefer it but
audiences aren’t so keen to sit and enjoy a
picnic on concrete! Most stages will easily
stand on grass. Any site that requires
heavy trucks to drive off hardstanding
onto grass may require a temporary
roadway system or ground protection.
A reputable stage company will insist
on a site visit to ensure that all these
considerations are taken into account.
You will also need to carefully design
your event’s ‘floor plan’. Ideally a site will
have a gentle slope, creating a natural
amphitheatre. Again, audience egress and
exit will vary from site to site. It’s essential,
however, to have more than one way to
get in and out: critical should the site need
to be evacuated quickly and effectively.
Ideally bars, toilets and food outlets should
be located away from the stage to prevent
crowding in any one area although not
so far away that their use becomes an
expedition rather than a brief stroll away.
Most stage performances will require
lighting, even those that take place in
daylight. Any stage with a weatherproof
roof and walls will tend to be darker than
the audience area so basic lighting will be
needed to counteract this. It’s generally
considered a waste of money to install
coloured lighting for a daytime show.
However, if the event is to be televised
then some coloured lighting will provide a
natural look. Some orchestras will require
basic white lighting, negating the use and
additional cost of lit music stands. At nighttime,
coloured lighting rigs are limited
only by the imagination of the lighting
designer... and your budget.
Another consideration is audience
lighting. There should be a minimum level
of illumination, sufficient for someone to
leave their place in the crowd to go to the
bar/toilet and be able to find their way
back again. Floodlights are also required
in case of emergency and to signify the
end of an event. Sound is one of the
most important items at most events.
Generally speaking, any good quality, large
loudspeaker that is designed to be used
at music events will handle almost any
form of music. However, the only way to
control the sound properly is by employing
a sound engineer.
In conclusion
You need to be confident that the
contractor you’re hiring is experienced,
insured and reputable: references will
underline suitability. If time allows ask to
view the stage before you book it, either
at the supplier’s premises or another
event where it is being used. Take this
opportunity to ask as many questions
as you can so you’ll know exactly what
to expect at your event. Speaking to a
supplier on the phone may give you some
information but seeing the product for
yourself will be much more insightful. It’s
also worth asking what standby cover
comes with the stage, whether the supplier
has been to the site before and if it has
supplied any similar events to the one
you’re organising.
ABOUT THE AUTHOR
Jane Russen is the national sales manager for Star Events Ltd, having been with the company for 22 years. Star Events is a
subsidiary of Altrad Beaver 84 Ltd and has been supplying equipment and services to the events industry for 40 years. It has
designed and delivered stages, structures, seating and rigging for some of the world’s most high profile events as well as for a
vast array of smaller community and commercial functions. It prides itself on its service, carefully considering each particular
situation, irrespective of the audience size, to provide equipment, service and safety event organisers can rely on.
www.stareventsltd.com
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