Stage Rigging Handbook - Softcover

PREFACE TO THE FOURTH EDITION

When I was first approached by Southern Illinois University Press about the possibility of writing the fourth edition of Stage Rigging Handbook, I was both flabbergasted and flattered. I was so pleased to hear that SIU Press was working on a next edition to continue Jay Glerum’s legacy after his death in 2014. This book is such an integral part of every rigger’s library as well as required reading in many rigging training courses and as such has placed Jay as the one of the world’s foremost experts in theatrical rigging. To be asked to carry on that legacy is such an amazing honor.

The fourth edition has clarified components of the third edition while also expanding on the handbook to update information with new ANSI standards, best practices and lessons I have learned from experience over my twenty-five years as a rigger. There are several updates to photos, drawings, and math examples to improve clarity based on feedback from readers and users of the third edition. This edition also adds new parts on truss and chain hoists, safety and fall protection, and curtain tracks systems and curtains. I’ve worked to remove all gendered language from the text so there are no longer references with “flymen” and instead all references are to riggers, no matter their gender identity. Other language shifts include no longer discussing “master riggers” but instead lead riggers and head riggers; using lead carriers instead of “master carriers”, and hanging masking curtains, without discussing the color of the drapes. Rigging is a craft that should be available to anyone who wants to participate in it. During the COVID-19 pandemic, many members of the entertainment technical production world left the industry, including those who has many years of experience and served as mentors to younger technicians. My hope is that this edition will help people in establishing and codifying the safest practices in this craft. No rigging book will replace hands-on practice, but having a foundational understanding of the tools, materials, reasons, rationale, and best approaches for the practices of rigging will set-up riggers to grow and excel in their craft as a part of the entertainment industry.

My deepest appreciation and thanks go to so many people for helping make the fourth edition possible. Thanks to Sallie Glerum for ask me to take on task and to continue sharing Jay’s passion for rigging education and safety with a new generation of riggers. All of us who rig, owe both Jay and Sallie a great debt for their tireless work on the previous three editions. The book and Jay’s legacy have come a long way and touch thousands of lives, including saving many lives, since the early days of Jay writing longhand in the morning and Sallie typing what Jay wrote in the afternoon.

My thanks also go to Dean Martine Kei Green-Rogers and John Culbert, Dean Emeritus of The Theatre School at DePaul University for their support at work throughout this process, including my research leaves. The entire production staff at The Theatre School for helping me find and set-up samples. All of my students and alumni for putting up with my continued asking about how to improve clarity. Gerard Gregerson for contract negotiations. The Guthrie Theatre, Chicago Flyhouse, Protolight Inc., Cornish College of the Arts, Hartford Stage, Dothan Alabama Civic Center, Arts Centre Melbourne, Sydney Opera House, and Mixed Blood Theatre for allowing me to explore and take photos on site. Dan Culhane of J. R. Clancy for his continued expertise on fire curtains, NFPA codes, and all things safety on stage. Mickey Henry at ETC for his motorized rigging knowledge. Reid Neslage for tracking down the typo in the formula for shock loading on 1/4" wire rope and his always enjoyable and insightful stories and memories of Jay. Thanks to Mike Katz and Paul Zagajeski for their help in the shock loading formula solution. The board of directors and staff of USITT, especially former Executive Director David Grindle and Director of Education and Training, Christine Troscher. The teams in rigging, carpentry, and automation at Cirque du Soleil Resident Shows Division. My fellow Glerum Rigging Master class instructors. Ed Leahy, Dominic DiGiovanni, Jen Seleznow, Topher Morris, and Joel Furmanek for their reading, reviewing and guidance. Mark Shanda for his constant support and encouragement as a fellow writing TD. My entire family-Marsha, Greg, Shannon, Gregor, Samantha, Kathryn, Big Joe, Annie, Clare, Vinnie, and Joe-for their constant support, even when they are unsure what this entire book is about. I wish to thank the staff at Southern Illinois University Press Kristine Priddy, Jennifer Egan, Judy Verdich, Sarah Jilek, Linda Buhman, Khara Lukancic, and others.

None of this could have happened without the love and support of the real writer in the house, Kristin Idaszak. You’ve been an amazing spouse, partner, editor, advisor, and support system throughout this very long and winding process as I found out what it is like to spend my days writing and researching instead of my usual teaching and teching.