2016 roxy redevelopment technical review · the stage is a mix of hardwood and cypress pine...

Roxy Theatre Technical

Review – 2016

Report by:

Written: Craig Gamble

Functional and Technical Report

Entry

Entry to the Roxy Community Theatre is off Pine Avenue. There is no dedicated parking

area but street parking is available. A pathway runs along the side of the building which

serves as both wheelchair and loading access to the theatre.

Foyers

There are single shop front spaces either side of the original theatre entrance. One of

these is currently utilised as the Theatre Managers office, the other as an extension of

the foyer area identified as the Supper Room.

The foyer in the Roxy Theatre is a small but adequate space and the foyer and offices

areas are well kept and functional.

There are no toilet facilities available in the foyer however the building is adequately

served for current uses with facilities adjoining and accessible directly from the

auditorium. Refurbishing these facilities would enhance the venue facilities for all users.

Figure 1 The theatre foyer

The foyer opens into the rear of the theatre stalls hall between two blocks of seats and

staircases to the balcony level are provided adjoin the stalls entries.

There is currently no direct universal access into the auditorium from the foyer which

presents Disability Discrimination Act issues for the venue. Wheelchair access into the

auditorium is via a ramp on the exterior of the building, not under cover and directly into

the side of the auditorium. As part of future planning it is recommended that the wheel

chair position in the auditorium is reviewed and that universal access is provided from

the foyer to dedicated seating positions at the foyer entrance, level to the auditorium.

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THE SUPPER ROOM

Adjacent to the foyer entry the Supper room, although under equipped the room is used

for a range of events including community workshop, meetings, functions and

conference events.

Figure 2: The Supper room and bar

The room has no dedicated technical equipment and events commonly share the

theatre’s equipment stock, some of which is low grade and in need of repair.

An upgrade of sound and audio visual presentation systems would immediately improve

the venue’s capability to support events. To compliment a projection system, installation

of technical data, digital and fibre technology will expand commercial opportunities

enabling internet sourced conference presentations; further supporting community uses

and aims for this venue.

BAR

The Roxy Theatre is not licensed and any events serving alcohol are required to apply for

event specific liquor licence.

No dedicated bar area is provided however the serving counter in the Supper Room

serves this purpose well.

MANAGEMENT AND ADMINISTRATION SPACES

There are two staff managing the centre. The centre manager is accommodated in an

office at the front of the building and has ample space. The part time technical manager

has a desk set up in the bio box.

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Figure 3: Theatre technical managers desk

The theatre manager’s office is adequate however the technical manager should be

better accommodated.

CATERING OPERATIONS

Functions and events regularly require catering facilities ranging from full preparation

kitchens or more commonly plating areas where food prepared elsewhere can be plated

up, heated and served.

The Roxy Theatre has no facilities for these operations and events requiring catering are

required to create catering facilities as part of the event set up costs making larger

catered events expensive and time consuming to produce in this venue.

If catered events are to occur more regularly in the venue dedicated areas should be

established with power, water and drainage to accommodate either temporary or

potentially permanent plating (not full preparation) kitchen, cool room, stores and

equipment to be able to cater for the functions and events held across the building.

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Auditorium

The auditorium is a beautifully presented town hall style venue with a high ceiling and

end stage. There is a single balcony and the stalls seating rest of the auditorium is a

shallow raked unstopped timber floor potentially allowing for multiple seating

configurations from standard theatre rows, to cabaret tables, long dinner style seating,

or clear auditorium floor to accommodate dancing.

Current maximum seating capacity is 700 with this being approximately evenly split

between the balcony and the stalls. Current capacity for stand up/flat floor mode is 200

– 250pax.

Possible capacity for function mode in the stalls with straight or round tables is yet to be

established.

Figure 4 Roxy Theatre Leeton

Seats and sightlines

Originally seating 1091 in what must have been cramped conditions the auditorium now

seats 700 in a mix of original, second hand and new seats

Figure 1. Stalls seating

The stalls area is a flat floor space for approximately half its depth rising through a gentle

rake from a point under the line of the auditorium balcony.

The stalls area seating was replaced in the mid 1990’s. The current seating has generous

row spacing and good set out however the seats are not in keeping with the architectural

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style of the venue or as audience members generally expect of cinema seats in this day

and age.

Subject to final operational models and business plans we believe the stalls seats require

a full replacement.

Figure 2. Balcony seats

The current balcony level seating was third hand from the St James Theatre Sydney and

Hay Majestic Theatre when installed in 1992, and although comfortable is aged and over

time has deteriorated. This is proving to be a constant running concern for management

with repairs required regularly, taking up valuable staff time.

Row spacing and seat spacing for the balcony seats is inconsistent resulting in some rows

having excellent leg room and others not, and audience sightlines from these seats are

generally inadequate with many seats being directly behind each other and with a

shallow raked balcony audience sightlines to the screen are often affected.

Subject to final operational models and business plans we believe the balcony seats

require a full restoration or replacement.

Projection booth (Bio Box) position

There is a projection booth at the rear of the auditorium. This is used for projection and

is not appropriate for live audio and lighting control.

The projection booth also houses equipment for the local community radio station and

the Councils IT department. Some fan cooled equipment in the Council system

equipment rack is noisy and creating a rattle which is heard in the auditorium, affecting

patrons, this rattle should be rectified as soon as possible.

For security and safety reasons access to the projection booth and venue generally

should only be by venue staff with Council staff or radio system technicians arranging

access through venue management as required, this is currently not the situation and for

security, safety and venue operations reasons this should be addressed.

Control / Mixing position

A temporary control position is commonly used in the auditorium side balcony and is

cabled from the stage using loose cables. This results in cables running through public

pathways causing trip hazard. Although not within a seating row, the control desk

obstructs public traffic, is distracting for the audience beside and behind and is not

dressed or secure from public interference.

Improvements to technical operation positions are required to minimise audience

distraction and provide a suitable place for operators and equipment with secure

dressed surround, bench and cabling interfaces for the equipment and operators.

A technical cabling upgrade would greatly support venue operations and flexible uses of

this building.

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THE STAGE

The stage area includes the stage, related access corridors, the proscenium, the over

stage rigging and the sub stage or orchestra pit areas.

THE PROSCENIUM

In order to address reflected light spill for the screen when in cinema mode additional

draping forward of the proscenium is recommended.

This would be best if an automated system controlled via digital inputs from the

projector controller however a manually deployed system would also suffice.

STAGE AREA

The acting area and wing spaces of the main theatre are within the industry benchmarks

for this type of theatre. The stage has an opening of 8.6mm and 7.0m depth a stage

apron of 1.6m is provided forward of the house curtain line and a stage extension of

another 2m is currently fitted.

The performance area and wing space is adequate for the performances and events uses

currently presented and within the industry benchmarks for this type of theatre.

Changes in the intended use would require reassessment against the benchmarks.

The stage is a mix of hardwood and cypress pine floorboards some of which are

splintering or broken creating safety hazards for dancers or other users. In order to suit

cinema projection requirements the forestage area is covered with a loose black cloth to

reduce light reflection.

Figure 5: Stage floor surface

For operational and user safety reasons it is recommended that the existing stage floor

be topped with a industry standard sacrificial surface such as smooth finished

“Weathertex” painted low sheen black.

There are stairs provided for the auditorium to the stage on each side of the stage apron

however with the orchestra pit lids in place these are covered and no access from the

auditorium directly to the stage is currently available.

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Safe work load limits for the stage floor area are not indicated. These should be

determined by a structural engineer and clearly placarded.

ORCHESTRA PIT

There is an orchestra pit provided at the front of the stage, as noted above this is

currently coverd with a stage extension system.

The pit is not large enough for an orchestra or stage band and with a minimal depth; it

suits a small ensemble or piano and nothing larger.

This space is currently used as storage for the venues baby grand piano and other loose

items.

Figure 6 Stage, Orchestra pit,

Figure 7: Piano store

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Figure 8: Storage under stage apron

Technical access

Access to the technical grid area from the stage is provided via a code compliant vertical

access ladders. To improve safety for users the access ladder openings at height should

be fitted with self closing “pool gate” style gates.

Over stage access platforms are in good condition and apart for some minor issues such

as toe board heights generally meet code requirements.

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Figure 9: Overstage catwalks

Access through the auditorium ceiling is generally adequate but would not meet code

requirements. Upgrades in this space should include safety harness line or dedicated

harness points.

Figure 10: The ceiling space

Access from the ceiling space back onto the overstage catwalks is poor and there is fall

from height risk at this location. Additional handrails should be added in this location

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Figure 11: Ceiling space access

STAGE RIGGING SYSTEM

There is no fly tower and the over stage rigging area and related was upgraded in 1998

providing a suspension rigging system comprised of a combination of electrically and

hand operated chain hoists and dead hung lines.

Flexible hanging positions are offered to users, and the single venue technician is

required to adapt any venue rigging set ups alone without any assistance or machine

automation. This is time consuming, potentially dangerous and an inefficient use of

technical support.

The overstage rigging system is comprised of a combination of;

3 x electric winched bars used for lighting

4 x manually winched bars used for curtain tracks, scenery or for stage masking

borders

2 x chain motors used for the front of house lighting bar

Side masking is completed using wall mounted swing arms which appear to serve

well.

All hoists are operated from the over stage technical galleries. Access to the hand

operated hoists is near impossible and not safely possible without use of an elevated

work platform (EWP). No EWP is provided in this venue resulting in any production

required changes to the rigging set up being rarely done and at risk to staff.

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None of the flown bars or rigging points are signed with either safe or maximum working

loads meaning staff have no indication of the maximum loads they can apply to the

building structure.

No current maintenance or inspection records for the rigging system were available at

the time of our inspection. It is a safety code requirement to conduct regular safety and

maintenance inspections of all rigging and inspections and any identified safety or

maintenance issues with the rigging should be addressed immediately.

On preliminary observation we surmise that the system is no longer code compliant.

Timber battens are bowed, no lines are labelled with safe working load information and

there are numerous out of date rigging components and “work around” solutions across

the system.

Figure 12: Overstage rigging issues

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It is recommended that a full audit of the system is undertaken, that the fixed and flown

lines are fitted with easily accessible motorised hoists, the rigging hardware is replaced

with code compliant fittings all rigging is installed in a code complaint manner and all

rigging areas and elements placarded as is currently required by code. It would also be

advantageous to offer professional development training to staff to further their skills in

rigging operations and an ongoing inspection and maintenance schedule be planned and

implemented.

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All existing non compliant flown or dead hung battens should be replaced with suitable

industry standard code compliant rated battens that clearly indicate working load limit

(uniformly distributed load and point load).

As a long term option, additional structural steel should be added over the centre line of

the stage allowing the provision of an additional lifting point on flown or dead hung

elements.

MDE recommend the early involvement of a structural engineer familiar with theatrical

environments, to assist in development of this proposal. This would allow standard

theatrical flown bars (rather than truss) to be used in this area of the theatre.

STAGE DRAPES

Existing conditions

The stage is equipped with a large roll drop projection screen, a variety of side stage

masking legs, over stage borders, a rear stage cyclorama an upstage and mid stage sets

of tabs. All stage masking drapes are black wool except for the mid stage tabs which

appear to be an old house curtain.

The cyclorama backdrop has been water damaged resulting in discolouration and

stretching providing a poor projection surface for theatre presentations .This should be

replaced as funds permit.

Apart from the drapes bought in the recent past; the theatre’s masking drapes do not

have maker’s identification or fire treatment certification. There is no proof of these

drapes being flame retardant which is a safety code requirement and we suspect

reproofing should be undertaken and suitable certification and labelling be provided.

Figure 13: Stage drapes – not fire retardant

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Provision of an additional set of stage masking legs and border, and a mid stage tab track

and drapes would better meet hirers requirements and enable more flexible staging

options for users.

An additional set of drapes and tracking system for these should be considered forward

of the proscenium for use in cinema configuration to reduce issues with reflected light

from the screen impacting on audience experience.

In short;

The roll drop projection screen is in excellent condition and operates well.

On stage masking drapes (legs) are generally in good condition

Over stage masking drapes (borders ) are generally in poor condition, are too

short to adequately mask the overstage area and require replacement

A new pair of mid stage tabs is required

A new rear stage cyclorama is required

An additional set of side masking legs and overhead border is recommended

Automated (or manual) draping system required forward of the proscenium to

improve cinema projection quality.

Technical infrastructure and equipment

The technical systems and cabling infrastructure on stage although adequate for cinema

use struggle to meet requirements for other uses of the venue and additional patch

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points for DMX, audio, and talkback should be added to each corner of the stage and

data outlets to the stage will enable a range of uses for production and control.

Cross stage patching for audio, data and DMX should be provided.

The shallow depth of the stage and the financial costs of installation negates the need for

stage cable trench running along the full length of the stage however if civic functions or

similar events are intended installation of some dedicated floor boxes fitted with power,

audio and appropriate AV cabling should be considered. With the nature of the theatres

stage floor construction this is a feasible possibility.

lighting

LIGHTING CONTROL NETWORK (DMX)

The DMX distribution system is very limited in the theatre, and does not conform to best

practice for venues of this type.

A DMX data splitter, should be installed, and the Cat 5 cabling network should be

extended to the to complete the system.

DIMMER AREA

The dimmer area is located in the generator room under the stage, and contains 5 x 12

channel rack mounted dimmers from 3 different manufactures connected to 3 phase

sockets. The dimmers are near the end of their operational life an should be replaced

with newer wall mounted types fitted with Residual Current Device (RCD) protection.

Figure 14: The dimmers

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The dimmers are powered via 32A three phase outlets. Whilst operational these no

longer meet industry standards future upgrades to this equipment will require these

outlets to be upgraded to 40A.

PATCH PANEL

There is no dedicated patch panel with stage lighting distribution being managed via

groups of plug tails that terminate in groups at the dimmer area. Sub patching is

provided in the over stage rigging areas and on stage. As is common in venues of this

type there are a large quantity of sub patch outlets in the venue served by a small

quantity of dimmers.

In addition to the current quantity of ‘hot power’ (Non dimmed power) circuits available

at the patch panel, MDE recommend installation of additional circuits to allow for

expansion of capability for LED stage lighting.

Figure 15: Dimmers and patch bay

FRONT OF HOUSE LIGHTING

A single flown front of house lighting position is provided. This is adequate for most uses

of the stage however well located side lighting positions would enhance venue

operations for live performance or those events which extend significantly forward of

the stage apron which are currently unable to be well lit.

Figure 16: Large scale performances are unable to be well lit

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A shelf arrangement has been located on the front of the auditorium balcony which is

used for lighting or event specific projector mounting however it is small and both the

shelf and associated cabling appears of a temporary nature.

This arrangement should be replaced with a dedicated balcony front lighting rail which

could also be used to suspend masking drapes to close off under the balcony if required.

LIGHTING BARS AND LOOMS

Several of the over stage flown trusses have a conduit providing outlets and cable

housing along the truss, for stage lighting. All of the lighting bars are provided with a

single centrally mounted DMX (required for control of moving lights, led lights, or colour

scrollers), however none of the bars are provided with data cabling, (used for

transmission of video or audio) as is often required for presentations, events and

performances.

It would be beneficial for many of the theatres live performance and events if an

additional lighting bar was provided in the mid stage area (upstage of the tabs) to assist

in adequately lighting this area of the stage.

STAGE LIGHTING EQUIPMENT

The theatre has a basic stock of stage lighting equipment of varying ages including:

6 x Robe Robin 300LED wash fittings

4 x Chauvet Rogue 2 LED profile*

10 x Selecon SPX profile fittings

6 x 1200W Selecon Rama fresnels

CCT tungsten halogen cyclorama lights

40 x incandescent PAR fittings (PARcans), and

A Strand Pallette lighting console.

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*These fittings are owned by the venue technician purchased at own cost to supplement

the venues stock in order to meet operational requirements.

The CCT cyclorama lights and the PARcans outdated and beyond usable life. New LED

cyclorama lights and additional LED wash lights should be purchased to replace these

fittings.

The Pallette whilst operable is out of date and no longer readily supported by suppliers

or the industry users and should be upgraded.

In order to better support local productions, events and incoming productions, it is

recommended that a replacement plan be implemented to stock the theatre with a

combination of LED and standard theatre luminaire units.

Technological advances in luminaire optics, heat management and filament design,

including the introduction of LED lighting in stage luminaires, mean that modern

luminaires are more energy efficient than older generation lights.

LED stage lighting should be added to an expanded lighting rig, to offer greater flexibility

for event lighting. LED lights have operational benefits including reduced time changing

gels, reduced consumables relating to purchase of gels, and greatly extended lamp life,

lowering lamp replacement costs.

An upgrade to luminaires will allow brighter stage lighting to occur with reduced energy

consumption. Sound System

SOUND SYSTEM WIRING

Audio tie lines distributed around the venue terminate in the control room. The patch

panel in the control room is incomplete, and many connectors are missing. There is no

dedicated digital sound system wiring installed in the Theatre.

Venue operational staff report that generally, the analogue tielines are reliable and there

is no signal degradation with the ageing wiring infrastructure.

As part of any major technical upgrade to the venue, a digital stage box should be

installed at prompt corner, and analogue tie lines should extend from prompt corner to

various areas of the stage.

Consideration should be given to the future provision of a dedicated sound Ethernet

cabling system, for transport of digital audio signals to locations in the theatre including:

Prompt corner, mix positions, OP corner and amplifier locations.

SOUND SYSTEM CONTROL CONSOLE

The sound system digital control console is an Allen and Heath ZED 436 32 channel

analogue mixer and is suitable for bands, theatres or AV applications.

Venue operational staff report that this console has adequate channels and the console

is in fair condition.

Provision for future installation of a digital mixing system as discussed above should be

made.

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LOUDSPEAKER SYSTEM

The loudspeaker system consists of a total of nine loudspeakers, rigged in a 3 x 3 left /

centre / right configuration forward of the main projection screen. Two 18” powered sub

woofers are located directly under the stage extension.

No loose speakers for fold back etc are provided.

Loose equipment of this type would support additional uses of the theatre.

Additional loudspeakers should be purchased and permanently installed to service

flexible venue configurations, to ensure the main loudspeakers do not need to be moved

for functions or other events in the Theatre that do not utilise the seating bank.

Subject to the extent of additional speaker configurations a digital audio processor could

be used in this venue to provide switching between a setup for theatre performances

and other uses of the space.

MICROPHONES

The existing compliment of microphones is barely adequate for general use and in order

to support performances, functions and events additional wired and wireless

microphones should be purchased to add to the existing microphone stock. The

performance relay microphone should also be upgraded. Performance relay

microphones are generally used to feed:

Hearing augmentation systems

Performance relay audio to dressing rooms, to the foyer for latecomers, and can

be used to relay audio to admin offices or other venues within the facility as

required.

Technical data

Industry standard Cat 6A Data cabling is now readily used in performing arts venues to

route digital audio, video, control and communications signals of various formats

between operational locations.

All newly designed or refurbished theatres contain a network of technical data cabling,

and a moderate network of this cabling should be installed in the Roxy. Any upgrade of

technical cabling should also include a limited fibre optic backbone for high bandwidth

audio/visual communications within the Theatre and allow connectivity to the local and

broader global community via the NBN or other digital networks.

A separate network of Ethernet cabling should be provided to various locations within

the theatre, including bio boxes, prompt corner, stage, dressing rooms, technical and

production offices and foyer areas, for the provision of internet, email and non

performance related communications.

Cinema, video systems and equipment

The Roxy is a fully functioning cinema and is equipped with a digital video projector

which is regularly used. Significant investment has been made into a cinema system with

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high quality speaker system, a large motor controlled screen and digital cinema

projector. All of this equipment is in good condition and well maintained.

The addition of a small flown screen located in the midstage area would facilitate

enhanced use of the venue for presentation purposes, for school and community uses. If

this additional screen was on a hand winch it could be easily flown out of view when not

required.

As audience expectations of quality and technical requirements for equipment increase

or change regular investment is often required in AV equipment, especially digital

projectors, to meet production and community expectations. Lifecycle planning for this

equipment should be based around a 3 - 5 year cycle.

AUDIO VISUAL SYSTEM

The Roxy Theatre has a long and proud history of presenting cinema going back to the

talkies which should be continued especially considering that Leeton has no other

cinema. Cinema is a good source of revenue and there is huge potential to provide a high

quality cinema experience to the community.

To compliment the digital projection system, installation of technical data, digital and

fibre technology will properly facilitate live events with AV requirements, and open

commercial and cultural opportunities for future streaming, transmission of works from

major centres and internet sourced presentations further supporting community uses

and aims for this venue.

Video cabling to support projection should be upgraded and expanded to allow for

digital high definition bandwidth distribution. Cabling to support projector control and

inputs from various locations should also be installed, including reticulation to lighting

bars. A combination of Ethernet and 3G-SDI coaxial cabling should be installed to meet

benchmark requirements and current user expectations for transport of digital video.

Stage Management systems

The stage managers console is the hub of stage operations especially during

performance.

All venue facilities require a level of interconnectivity for paging, communications,

audience recall and background music between spaces. This is not provided in the

theatre.

The Roxy Theatre prompt corner is messy with equipment installed on walls, some of

which appears unserviceable or out dated. There is no desk for script, notes, etc. A lack

of stage management systems means this area is missing important control and facilities.

Providing a stage manager’s desk with basic facilities including the provision of show

relay, talkback, paging, general communications, video monitor capability, house light

control with clear sightlines to stage would greatly improve the venues operations for

live performance.

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TALKBACK COMMUNICATIONS

Talkback communications are currently on a 2 channel system, with a master station in

prompt corner. The talkback system is powered by a transformer connecting directly

into the talkback cabling.

The cabling that supports this system is in reasonable condition, however cabling

terminations are generally in poor condition across the venue.

An update of venue cabling should expand this production communications system to a

2 ring system, in line with industry expectations, and a master station should be included

in the stage management console to provide provision for paging calls to the dressing

room areas, and additional functionality.

There is no wireless talkback system in the Roxy Community Theatre. Wireless systems

are particularly useful in flexible venues and incorporation of a wireless system should be

considered when budgets allow.

CUE LIGHT SYSTEMS

The venue does not currently have a cue light system.

Incorporation of a technical data cabling network across the theatre will allow future use

of a cue-light system if warranted by operational requirements.

MDE recommend installation of suitable cabling as part of any future technical cabling

upgrade.

AUDIO PERFORMANCE RELAY TO DRESSING ROOMS AND FOYERS

Performance relay (or programme relay) is an audio feed from a microphone above the

stage. This feed is distributed throughout backstage areas so performers are aware of

what is occurring on stage.

Theatres are generally equipped with performance relay and paging to various locations

within the theatre, including dressing rooms, backstage corridors, green room, foyers

and office areas. Paging calls are announcements from the stage manager’s console that

are distributed throughout the backstage areas, for cast and crew to prepare for cues.

Paging systems in modern performing arts facilities generally have a digital paging

matrix, local volume controls and source selection, and override of programme relay for

paging calls.

An overhaul of venue paging systems is required to achieve appropriate functionality in

the foyer, foyer toilets, theatre backstage areas, control room, and other key locations.

PERFORMANCE RELAY VIDEO SYSTEM TO BACKSTAGE AND FOYER AREAS.

A performance relay video system is useful for staff or cast members to be able to see

what is happening when away from the stage or for audience members held in the foyer

for latecomers or other reasons (crying baby etc). There is currently no performance

video relay around the venue.

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A permanent low light Pan Tilt Zoom camera should be installed, and connected to a

new professional grade video distribution amplifier, to the performance relay system.

BACKSTAGE FACILITIES

LOADING ACCESS

The effective, efficient and safe operation of the loading dock for a performing arts

facility is important to the running of the facility. The loading dock is the ‘front door’ for

sets, staging and equipment for all performances.

Back of house access is poor with no dedicated entry point for goods or equipment with

all access directly into the auditorium via the side door off Wade Avenue and with no

dock leveller hirers are advised to bring a ramp for easy transfer from truck to the

auditorium and the stage platform.

This loading area is exposed and not protected from rain. It is recommended that an

awning be provided.

If an increase in live performance uses is developed t may be useful for the theatre to

have portable truck ramp on site as a convenience and good service for incoming users

and to reduce risk of manual handling injuries or equipment damage during load ins or

outs.

Access

Access equipment includes several ladders in varying condition. These should be

inspected and repaired/replaced as required. A work platform ladder such as Branach or

Gorilla brand equipment for safe access to stage lights etc should be added to the

theatres inventory

In addition to this if events or programming uses increase future planning could allow for

purchase of a small Elevated Work Platform for access to stage lighting etc.

Dressing rooms

The two dressing rooms have been the subject of recent upgrades and are comfortable

and fit for purpose.

They are both adequately size and well equipped, however there is no sound lock

between the stage and the dressing rooms resulting in noise transference to the stage.

The bathroom facilities in dressing rooms do not include showers

The dressing rooms are not wheelchair accessible.

There is no paging or show relay system to the dressing rooms and it is recommended

that future planning include installation of these facilities to the dressing rooms and

other spaces used for assembly of casts or groups.

Figure 17 Dressing room and facilities

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Green Room

The green room is a fundamental benchmark of backstage facilities. A room of assembly,

rest and eating for visiting staff and crew is highly desirable in all performing arts facilities

and currently the Roxy Theatre fails to provide these facilities.

If the venue intends to support ongoing live performances this facility should be

provided.

Technical Offices and workshop

There is no technical office or workshop.

There is a small open equipment storage area at the rear of the theatre and a second

one under the stage where the dimmers are where repairs and work could be conducted

and it is desirable to clear these spaces out and provide a dedicated work bench and

tools/equipment storage in this area.

Wardrobe and Laundry

Touring productions generally require ironing facilities, hot and cold water with laundry

trough, and washing and drying equipment. Although not critical for cinema or function

uses if the theatre is to develop a live performance program consideration should be

given to the provision of a space fitted with this equipment.

Storage

There is never enough storage in any venue and the Roxy Theatre is no exception.

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As with other venues storage places have been found in various lost spaces in the

building including under the balcony level seats and in rear stage alcoves.

Although generally cramped the storage spaces are generally tidy and well maintained.

Figure 18 storage examples

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Stage sink

In addition to the venues cleaners facilities, a wet area provided with a cleaner’s sink and

hose point is critical for the daily operations of the venue and should be provided in the

backstage area of the venue for use by for use by technicians in order to maintain or

service production needs including the washing of paint brushes used with water based

paints. This facility is used for mop buckets (traditionally cleaners do not clean the stage

or wings areas) which are required to be swept and mopped prior to every performance.

ACOUSTICS

The theatre has a galvanised iron roof and single thickness glass windows at balcony

level, no sound locks are provided at any entry doors and the over stage smoke louvers

are not provided with noise dampers, consequently the theatre suffers from light and

sound leak issues during presentations and performances.

These are noticeable but currently not major issues however any increase in usage or

revisions to the building should address these points of noise ingress and noise egress.

Universal Access

Good design is good for everyone and it is expected that Universal Access will be

provided to all public and general use areas.

It is standard practice now that Universal Access is provided to all users of performance

spaces and associated areas. Universal Access includes access for the mobility, sight and

hearing impaired.

Universal Access to the body of the hall is provided from outside the building through

fire exit doors to the stalls level seating. This fails to meet best practice.

Wheelchair access should be provided to the Theatre from the front doors, theatre stage

and a selection of seating locations within the auditorium.

All access paths and doors to, within and around the Theatre, auditorium and stage

should be designed to accommodate the needs of wheelchair users, mothers with prams

and other mobility impaired persons.

HEARING AUGMENTATION SYSTEMS

The Disability Discrimination Act requires provision of hearing augmentation systems to

allow equal access to all abilities.

Hearing augmentation is not currently provided and should be in order to meet DDA

requirements.

No hearing augmentation is provided in the foyer or box office areas.

Australian Standard 1428.5 provides guidelines for the scope of these systems in public

buildings.

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Building and services

Due to the nature and design requirements of theatrical and other presentations careful

design of the various services systems is required within and around these spaces.

MAINS POWER DISTRIBUTION

Incoming mains power for the theatre is capped at 100A per phase, 65A of which is

directed to stage lighting in the theatre. This is generally adequate for existing events

and presentations power requirements although upgrades to this supply should be

considered as part of building wide upgrades.

There is no power protection for the building.

There are currently 5x32A three phase sockets available in the dimmer area, (with

provision in place for an additional 3 outlets) and 2 x 32A 3 phase sockets available at

prompt corner for temporary connection of additional dimmers on a show by show

basis. Although benefiting from the use of LED fittings for much of the stage lighting and

allowing for diversity in use across systems we believe that the power allowances for the

stage lighting / stage power should be upgraded as part of building wide works.

Although operable the existing 32A three phase outlets in the building are below

industry expectations and should be upgraded to 40A outlets to meet current industry

plug standards.

Audio Power

We recommend that in order to avoid earth loop hum, signal interference and AV

distortion to sensitive sound and audio/visual systems, separately earthed electrical

distribution boards should be provided for audio power supply. This “clean” power

supply or “green power” will consist of dedicated switchboards and sub-circuit wired to

strategic technical positions.

BUILDING LIGHTING

Auditorium lighting

The current house lighting luminaires may be economical to run but are unflattering to

the venue, and do not enhance the experience of attending the theatre.

The house light system is aged and it is recommended that the fittings and control be

upgraded and available at back and front of house locations and to support theatre and

event uses this system should also interface to the stage lighting system via DMX.

There is light leak from various sources in the auditorium and daytime black out is

commonly required for cinema or live performance is not achievable.

A well chosen architectural fitting could compliment the venue design and obtain

effective coverage. The existing zoned house lighting system should allow adequately

for all of the flexible usage configurations of the venue.

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Foyer lighting

Further enabling the foyer and Supper Room area to operate as separate hireable venue

may be of commercial value.

Accordingly, as part of possible future developments, consideration should be given to

the installation of technical infrastructure and systems to support dedicated events.

BLUE LIGHT AND WORK LIGHT SYSTEMS

Worklights are required in the stage and auditorium areas of theatres for both general

stage set ups, cleaning and maintenance and for performance operations.

A white worklight system is required to provide adequate illumination for normal fit-

up or maintenance activity and is not used during performance.

A blue worklight system is required for safe movement for performers and technicians

during rehearsal and performance, especially alongside steps, catwalks and similar

hazards.

There are no stage work lightings provided from the Front of House (auditorium area). It

is recommended that the white work light system be increased.

A rudimentary stage blue worklight system as is required for performance use is

provided by temporary or work around solutions on stage and no provision is made in

the wings or backstage corridor areas and it is recommended that the blue light system is

upgraded to better support venue operations.

AIR CONDITIONING

The building suffers from lack of adequate insulation, resulting in exposure to noise and

weather conditions.

The building is fitted with four large evaporative air-conditioning units which although

effective in dry conditions fail to meet user requirements in humid conditions.

Figure 19: Mechanical plant of building roof

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Heating is provided to the auditorium via the radiant heaters on the auditorium walls.

Other spaces in the building are served by a variety of different localised systems.

It is recommended that full climate control air conditioning be installed.

Low velocity air flow to the auditorium is important to reduce fan noise etc impacting

upon the performances and to reduce the possibility of stage drapes or projection

screens being blown around.

FIRE PROTECTION AND SMOKE ISOLATION

There are no smoke detection systems, alarms or sprinkler systems provided in the Roxy

Theatre. The only fire protection provided is fire extinguishers throughout the building.

In future planning it is recommended that a smoke detection and alarm system is

provided with the assistance of an appropriate fire engineering consultant.

If smoke detection provided then as many productions require the use of atmospheric

effects such as smoke, haze or potentially dry ice and it is therefore necessary to isolate

smoke detectors in performance and surrounding areas. This isolation should be simple

to use and on an automatic reset timer of approximately 4hr duration.

ENVIRONMENTALLY SUSTAINABLE DESIGN

The Theatre currently has no integrated building management system.

Turing systems on or off is currently conducted by the theatre manager or relevant staff.

Installation of a suitable systems management controller would allow Council better

control over the building services, the building operations, systems maintenance and if

required separation of zones or billing.

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Summary of recommendations

The following is a summary of recommendations made in this report with benefits to the venues

and stakeholders to move to the next level of benchmark standards. Recommendations are

divided into four categories:

TU Technical upgrade or acquisition

C/BU Capital or building upgrade

OP Operational review and /or change

OHS Occupational Health and Safety upgrade

ITEM BENEFITS CATEGORY

ENTRY

Provide data technology cabling Improve venue conditions, improve

marketing and promotional options

TU

Improve signage/illumination Improve venue conditions, improve public

service

TU

FOYER

Activate street frontages Improve venue conditions, improve

marketing and promotional options

OP

Provide universal access to the

theatre

Improve venue conditions, improve public

service

C/BU

SUPPER ROOM

Provide dedicated technical

equipment:

Audio kit and PA

AV presentation system

Improve venue capability,

increase support to events, and commercial

opportunities

TU

Install technical data cabling Improve venue capability, increase support to

events, an commercial opportunities

TU

AUDITORIUM

Restore / replace theatre seats Venue improvements, reduce damage and

safety risk, reduce technical staff time

C/BU

Replace stall seating with

retractable seating system

Improve venue capability, increase support to


TU

Provide hearing augmentation Meet DDA requirements TU

Provide masking on light leaking

areas

Improve venue conditions TU

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STAGE

Install full stage Weathertex layer

(black finish) to extent of stage area

Improve venue operations and functionality

Improve venue safety

TU

OHS

Provide light and air seal at side

stage door

Improve venue conditions, improve onstage

conditions

TU

Provide upgrades to technical data

cabling;

DMX

Audio

AV for presentations

Improve venue production values, decrease

technical set up time

TU

Provide additional stage drapes

(cyclorama, tabs, borders)

Improve venue operations and functionality TU

FLYING SYSTEM AND OVERSTAGE

Inspection and rectification of

identified issued in overstage rigging

Improve venue safety, meet code compliance OHS

Fixed and flown lines fitted with

easily accessible motorised hoists,


Replace all existing non compliant

flown battens with suitable industry

standard code compliant rated and

placarded battens

Improve venue safety, meet code

compliance OHS

Develop ongoing inspection and

maintenance schedule for all

technical systems


Provide auditorium side lighting

positions

Increase venue capability, increase staging

options

TU

Provide additional handrail at ceiling

space egress point


Provide fall protection system at

roof access point ladders


Review and revise auditorium roof

space catwalks.


STAGE LIGHTING AND CONTROL

Increase lighting stock Increase venue capability, increase

commercial opportunities

TU

Extend DMX cabling network Increase venue capability, increase


TU

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Provide industry standard lighting

patch bay system clear labelling to

patch system

Increase efficiency of technical work.

Increase staff safety

OP

Revise dimmer set out to install wall

mount or provide rack or shelf for

dimmers

Improve work space, increase venue and staff

safety

TU

Upgrade 32A 3 phase outlets to 40A Meet industry standard C/BU

WORK LIGHT

Replace blue work light to LED

fittings

Improve venue operations, improve stage

conditions

C/BU

Provide worklight from FoH Improve venue operations, improve stage

conditions

C/BU

SOUND SYSTEM

Increase/ replace audio equipment

stock

increase commercial opportunities TU

Provide integrated audio systems:

Paging

Show relay

Talkback

Increase venue capability, increase


TU

CONTROL POSITION

Provide permanent control position

in auditorium

Increase venue capability, Increase efficiency

of technical work

TU

Install technical data infrastructure

and linkage point at auditorium

position

Increase venue capability, Increase efficiency

of technical work, reduce hazard

TU

Audio Visual System

Install technical data and fibre optic

cabling



TU

Establish link to fibre backbone to

enable streaming of content



TU

BACK STAGE FACILTIIES

Provide loading access to stage level Reduce manual handling, increase

operational efficiency

TU

Provide Universal Access to stage Improve venue for staff, hirers C/BU

Dressing rooms

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Provide show relay and paging

system

Increase venue capability TU

Technical workspace

Provide technical work space Improve venue for staff, hirers C/BU

Stage Management systems Increase efficiency of technical work,

meet current standard of equipment

TU

Provide stage manager’s console Increase efficiency of technical work,

meet current standard of equipment

TU

ACOUSTICS

Improve noise isolation at external

doors and windows

Improve venue for staff, hirers C/BU

Provide sound locks at entry doors Improve venue for staff, hirers C/BU

BUILDING AND SERVICES

Replace auditorium house lights

with smooth dimming LED fittings

Improve venue conditions,

meet industry standard

C/BU

Provide air conditioning to the

venue



C/BU

Upgrade power supply to building Improve venue conditions,


C/BU

Upgrade 32A three phase outlets to

40A



C/BU

Improve white and blue worklight

systems



C/BU, OHS

Provide fire protection throughout

building

Improve venue conditions and public safety C/BU, OHS

Provide building management

system as part of other systems

upgrades



C/BU,

OTHER ELEMENTS

Restrict access to building to venue

staff, hirers, patrons and venue

authorised people only

Improve venue security, and public safety C/BU, OHS

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Provide professional development

training to staff to further their skills

in rigging operations


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Appendix 2. Key Stakeholder Groups Consulted

- Roxy Theatre Manager and Technician

- Town Band

- Roxy Community Theatre Group Advisory Committee

- Council Staff and Management of The Roxy Theatre

- Leeton Eisteddfod

- St Francis and Yanco Agricultural Collage

- Inner Wheel – Businesses and philanthropic groups of Leeton

- Rotary

- Yanco Agricultural High School Students and teachers

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Appendix 3. Glossary of Terminology

- All industries have their own language and In order to clarify some of the discussions in this

project please find below a list of words or terms used in our report and on stage generally.

- A useful link to a variety of other theatre dictionaries is:

http://www.theatrecrafts.com/glossary/glossary.shtml

-

Acting area The area on the stage that can be seen from the auditorium

Auditorium The seating area of the theatre

Auditorium side

lighting booms:

Vertical and horizontal 50mm pipes used for rigging stage lighting from.

Audio Green Power

(AGP)

Also know as Technical power. Separate earthed electrical supply dedicated for

use with audio systems so as to avoid, hisses, earth lops and hums

Centre line The line drawn through the centre of the stage opening and auditorium. An

important line as all east/west (or Prompt /OP) measurements are taken from

this. Unless specifically advised there should be no structural elements on the

building or the stage centre line.

Back of House

(BOH)

A phrase from the hotel industry sometimes used instead of backstage.

Back Stage The non public areas of the theatre.

Bio Box / Control

room

Control areas for the stage lighting and audio systems.

Borders Part of the stage draperies. Long curtains generally made of black wool hung

above the stage or performance area to help stop audience members seeing into

the above stage or flytower areas.

Crossover Upstage corridor that allows cast and technicians to travel from one side of the

stage to the other without being seen by the audience.

Cyclorama A full stage width filled gauze / soft fabric used with stage lighting and projection

at the back of the stage.

Dimmed outlets Dedicated stage lighting outlets used in conjunction with the stage lighting

console and dimmer systems.

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Downstage Along the centreline closer to the auditorium.

Fly / Flying The suspension or operation of suspended scenery or lighting bars in the theatre.

Fly bars The actual scenery bars suspend over the stage off which the scenery, stage

masking and lighting is hung.

Followspot bridge The lighting bridge at the rear of the auditorium also used for followspot

operating locations.

Front of House

(FOH)

The public areas of the theatre.

Forestage The area in front of the house curtain but not into the auditorium, particularly

that space over the orchestra pit.

Greenroom The cast and crew lounge room, not accessible to the general public, preferably

with access to natural light and outside balcony or terrace area

Grid The above stage rigging loft, covering the entire stage area and providing access

to and support for the required diverter pulleys for the stage flying system.

Header/s Solid panels generally used in conjunction with the teaser panel to shape the

proscenium size or used on stage as a hard border for masking.

House Curtain The curtain hung immediately upstage of the proscenium arch. Sometimes very

decorative and generally hung in conjunction with a decorative boarder, header

or valance. (aka the Act Drop, House rag or the Rag)

Legs Part of the stage draperies. Tall curtains generally made of black wool hung

towards the sides of the stage or performance area to help stop audience

members seeing into the side stage or off stage areas.

Lighting Bridge The structures above the auditorium where the performance lights are rigged.

Technical areas not accessible to public.

Lines / Line sets Suspended flying line and batten / bar sets

Masking Concealment of the overhead, side or back stage areas of the stage using soft

curtains (legs / borders) or hard scenery.

Offstage Away from the centre line

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OP or Opposite

Prompt;

Right hand side of the stage if you are facing the auditorium.

Orchestra pit (the

pit)

The section of the forestage area that fitted with a lifting platform that may be

positioned at stage level to add to the acting area, at auditorium level fitted with

seats, at orchestra level for use with a band or orchestra or at substage level for

transport of equipment or at any level in between these preset stops.

PS or Prompt Side Left hand side of the stage if you are facing the auditorium. Generally the Stage

Managers console is located on PS.

Proscenium The wall between the auditorium and the stage

Proscenium arch The opening in the proscenium wall that frames the stage/acting area.

Raked (Stage,

seats)

A raked stage is higher at the back of the stage than the front. A raked auditorium

has the seating rows stepping up as they progress away from the stage edge.

Setting line A line drawn from the upstage face of the setting line walls across the stage

perpendicular to the centre line. An important line as it from this that all

measurements onstage are taken from.

Setting line walls The two walls that make up the fixed sides of the proscenium if no tormentors

are in use

Teaser panel The flown unit that flys (is suspended on moveable winch line sets) either in the

proscenium line to assist in shaping the proscenium arch. Used in conjunction

with the tormentors.

Technical Galleries The structures above the stage where the motorised winches, stage lighting

dimmers and other equipment is located. Technical areas not accessible to

public.

Technical Panel

(TP):

Coordinated wall, floor or ceiling plates holding power or other outlets, plugs and

sockets for various cables and connections.

Technical Power Separate earthed electrical supply dedicated for use with audio systems so as to

avoid, hisses, earth lops and hums

Tormentors The sliding panels of varying thickness attached to the upstage onstage edges of

the setting line walls to allow adjustment of the proscenium sizes.

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Upstage Along the centre line away from the auditorium and the setting line.

Winches Power or hand driven systems used for raising or lowering of scenery or stage

lighting bars

Wings / Wing space The areas offstage form the acting are where scenery is stored and performers

enter the stage from

Acting area The area on the stage that can be seen from the auditorium

Auditorium The seating area of the theatre

Auditorium side

lighting booms:

Vertical and horizontal 50mm pipes used for rigging stage lighting from.

Audio Green Power

(AGP)

Also know as Technical power. Separate earthed electrical supply dedicated for

use with audio systems so as to avoid, hisses, earth lops and hums

Centre line The line drawn through the centre of the stage opening and auditorium. An

important line as all east/west (or Prompt /OP) measurements are taken from

this. Unless specifically advised there should be no structural elements on the

building or the stage centre line.

Back of House

(BOH)

A phrase from the hotel industry sometimes used instead of backstage.

Back Stage The non public areas of the theatre.

Bio Box / Control

room

Control areas for the stage lighting and audio systems.

Borders Part of the stage draperies. Long curtains generally made of black wool hung

above the stage or performance area to help stop audience members seeing into

the above stage or flytower areas.

Crossover Upstage corridor that allows cast and technicians to travel from one side of the

stage to the other without being seen by the audience.

Cyclorama A full stage width filled gauze / soft fabric used with stage lighting and projection

at the back of the stage.

Dimmed outlets Dedicated stage lighting outlets used in conjunction with the stage lighting

console and dimmer systems.

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Downstage Along the centreline closer to the auditorium.

-

Fly / Flying The suspension or operation of suspended scenery or lighting bars in the theatre.

Fly bars The actual scenery bars suspend over the stage off which the scenery, stage

masking and lighting is hung.

Followspot bridge The lighting bridge at the rear of the auditorium also used for followspot

operating locations.

Front of House

(FOH)

The public areas of the theatre.

Forestage The area in front of the house curtain but not into the auditorium, particularly

that space over the orchestra pit.

Greenroom The cast and crew lounge room, not accessible to the general public, preferably

with access to natural light and outside balcony or terrace area

Grid The above stage rigging loft, covering the entire stage area and providing access

to and support for the required diverter pulleys for the stage flying system.

Header/s Solid panels generally used in conjunction with the teaser panel to shape the

proscenium size or used on stage as a hard border for masking.

House Curtain The curtain hung immediately upstage of the proscenium arch. Sometimes very

decorative and generally hung in conjunction with a decorative boarder, header

or valance. (aka the Act Drop, House rag or the Rag)

Legs Part of the stage draperies. Tall curtains generally made of black wool hung

towards the sides of the stage or performance area to help stop audience

members seeing into the side stage or off stage areas.

Lighting Bridge The structures above the auditorium where the performance lights are rigged.

Technical areas not accessible to public.

Lines / Line sets Suspended flying line and batten / bar sets

Masking Concealment of the overhead, side or back stage areas of the stage using soft

curtains (legs / borders) or hard scenery.

Offstage Away from the centre line

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OP or Opposite

Prompt;

Right hand side of the stage if you are facing the auditorium.

Orchestra pit (the

pit)

The section of the forestage area that fitted with a lifting platform that may be

positioned at stage level to add to the acting area, at auditorium level fitted with

seats, at orchestra level for use with a band or orchestra or at substage level for

transport of equipment or at any level in between these preset stops.

PS or Prompt Side Left hand side of the stage if you are facing the auditorium. Generally the Stage

Managers console is located on PS.

Proscenium The wall between the auditorium and the stage

Proscenium arch The opening in the proscenium wall that frames the stage/acting area.

Raked (Stage,

seats)

A raked stage is higher at the back of the stage than the front. A raked auditorium

has the seating rows stepping up as they progress away from the stage edge.

Setting line A line drawn from the upstage face of the setting line walls across the stage

perpendicular to the centre line. An important line as it from this that all

measurements onstage are taken from.

Setting line walls The two walls that make up the fixed sides of the proscenium if no tormentors

are in use

Teaser panel The flown unit that flys (is suspended on moveable winch line sets) either in the

proscenium line to assist in shaping the proscenium arch. Used in conjunction

with the tormentors.

Technical Galleries The structures above the stage where the motorised winches, stage lighting

dimmers and other equipment is located. Technical areas not accessible to

public.

Technical Panel

(TP):

Coordinated wall, floor or ceiling plates holding power or other outlets, plugs and

sockets for various cables and connections.

Technical Power Separate earthed electrical supply dedicated for use with audio systems so as to

avoid, hisses, earth lops and hums

Tormentors The sliding panels of varying thickness attached to the upstage onstage edges of

the setting line walls to allow adjustment of the proscenium sizes.

of 47

Upstage Along the centre line away from the auditorium and the setting line.

Winches Power or hand driven systems used for raising or lowering of scenery or stage

lighting bars

Wings / Wing space The areas offstage form the acting are where scenery is stored and performers

enter the stage from

Appendix 4. further information

The following selection of entertainment industry publications are excellent references to assist

in the operation of safe and compliant venues:

Employer guide to OHS in the entertainment industry,

Australian Entertainment Industry Association (2004)

http://www.liveperformance.com.au/site/_content/document/00000036-source.pdf

Safety Guidelines for the Entertainment Industry,

Australian Entertainment Industry Association and the Media Entertainment Arts Alliance

(2001)

http://www.liveperformance.com.au/site/_content/document/00000027-source.pdf

Stage Rigging Handbook, 3rd Ed.

Jay O. Glerum, Southern Illinois University Press, (2007)

Show Networks and Control Systems,

John Huntington, Zircon Designs Press (2012)

A Practical Guide to Health and Safety in the Entertainment Industry,

Marco Van Beek (2000) Entertainment Technology Press

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Appendix 5. Standards and guidelines

The following list of Legislation, Australian Standards and Codes of Practice are generally

applicable to theatrical venues.

AS 1163 Steel Hollow Sections

AS 1170 Pt 1 Structural Design Actions

AS 1170 Pt. 4 Earthquake Loads

AS 1319 Safety Signs for Occupational Environment

AS 1403 Design of Steel Shafts

AS 1418 SAA Crane Code Parts 1, 2 & 8

AS 1428.5 Design for Access and Mobility

AS 1530 Fire testing and Combustibility

AS1554 Pt 1 Welding of Steel Structures

AS 1567 Fixed platforms, walkways, stairways and ladders— Design, construction and

installation

AS1866 Wrought Aluminium Alloy Extrusions

AS2089 Sheave Blocks

AS2317 Eyebolts

AS2318 Swivels

AS2319 Rigging Screws & Turnbuckles

AS2321 Short link chain for lifting purposes

AS2759 Steel Wire Rope – Applications Guide

AS3000 SAA Wiring Rules

AS3569 Steel Wire Ropes

AS3678 Structural Steel: Hot Rolled Plates, Floor Plates & Slabs

AS3679 Pt 1 Structural Steel: Hot Rolled Bar and Sections

AS3990 Mechanical Equipment Steelwork

AS4024 Safeguarding of Machinery, General Principles

AS4100 Steel Structures

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Appendix 6. Independent Cost Plan

2016 roxy redevelopment technical review · the stage is a mix of hardwood and cypress pine...

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