Do I need an Exit Sign

[DavidDuffy]

I think a standard exit light with a custom controller to disable it during the effect would be the way to go.

Having an input for a local button to enter "performance mode" (disabling the light), as well as a timer and emergency input (to restore the light) would be easy enough to incorporate.
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David Duffy
Audio Visual Devices

[SA matt]

Hi, the green man on the black back ground requires you to have an emergency light within 3 M of it, I believe, where as the green on white does both of these requirments serving as an emergency light also. But check with your local BCA's

[Chris]

Did anyone talk to Graham Henstock at STC.

They did a show late last year which involved completly blacking out one of their theatres.

After a few discussions with workcover (I believe) and a risk assessment, they were able to blackout their Exit signs for a duration of time.

To do this....the R.A. had the show's ASM and a few ushers in Nightvision goggles.

Overkill...perhaps....but they did their 6 week season without any problems.

[Bivio]

[hdmcc]

possibly black ops?

[Bivio]

[GHenstock]

Black ops indeed...

To quickly run you through how we achieved the absolute black out for that show (and for other productions)...

Firstly, due to the nature of our exit signs, which have a battery back-up in case of power-failure, switching off the exit signs was not an option (and would have put is in breach of our Safe Work Procedures).

So, a complicated (but elegant) rope and pulley system was set up. Slightly weighted, black cardboard flaps were attached to the bottom of all of our exit signs. Then, thin black cord was used to connect all of these flaps and run, through a system of pulleys, back to the lighting control position.

From there, the lighting operator (or stage-manager) was able to pull on a single cord which caused the flaps to be pulled up over the exit signs. Due to the weighted nature of the flaps, the exit lights only remained covered whilst the operator applied pressure to the system. The moment that pressure was released, the flaps fell and revealed the signs. This, in effect, created a dead-man's switch that ensured that the exit lights could not be left unintentionally covered.

Next, our aisle light system was attached to a sprung-key switch. This allowed the other operator in the box (whom-ever wasn't busy pulling the "exit-light-string") to turn off the aisle lights for the duration of the effect. Once again, this operated as a dead-man's system, ensuring that the aisle lights were re-instated as soon as pressure was removed from the key.

Then, for the safety of actors and crew, the crew who conducted the scene changes were indeed fitted out with night-vision goggles. Actors were instructed not to move unless led by a crew-member and all staff were inducted into how to work safely on the set (i.e, not to move at all if the goggles failed).

Finally, warning signs were put up in the auditorium that informed patrons that there would be moments of "intense darkness" and asking them not to leave their seats during those periods (although ushers were standing by with torches, just in case there was an emergency).

Of course, all of the above was comprehensively documented in a risk-assessment.

With all of the above in place, we received clearance under our "Place of public entertainment" license, to include absolute black-outs as part of the show.

We haven't, however, used that effect since the laws removed the need for POPE licenses, so I'm not sure whether the above would still be acceptable...

I hope that helps clarify a few things (or, at least, provides some interesting reading).

Cheers,

Graham Henstock
Head of Lighting
Sydney Theatre Company

[RoderickvG]

Very nice and well thought out system. But I would have to mention that, technically speaking, aisle lights should also have a battery back-up.....

But then there is the confusion about PoPE licensing. It actually hasn't been removed. What happened in NSW is that the State Government removed the requirement of a PoPE licence for bars and restaurants. But theatres and performing arts venues, which are now referred to as 'entertainment venue', still need to comply with all the old existing requirements. But to confuse matters further, that licence is now issued by local councils and covered under the Local Government Act.
So yes, it has been removed from State legislation but replaced by local legislation.

My apologies if this is all a little outside the ALIA interests. PM me if you need more details or want to discuss.
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Think it is too expensive to hire a professional, wait until you hire an amateur

[Andy Ciddor]

[GHenstock]

Hi Roderick,

Regarding the aisle lights, our system doesn't have a battery backup... yet...

As far as I'm aware, the aisle lights that we utilise at the Wharf are part of the original system that was installed over 20 years ago, hence the lack of batteries.

Instead, we have a number of large battery-powered emergency lights that are designed to turn on in the event of an universal power failure.

My next big project, however, is going to be the redesign and implementation of a new houselight and aisle light system for both of the venues on the Wharf, so a battery-backup is only one Capital Expenditure approval away...

Cheers,

Graham.
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Graham Henstock
Head of Production
National Institute of Dramatic Art (NIDA)

[JBoer]

While we are on this thread, What did you come up with for your problem Clint?

[djrappa]

Based on risk assesement and interpretations of the aplicable laws by the relevent management it was deemed an Exit sign was not required in this circumstance.
The only people ever in this particular location are trained/inducted personel, familier with the area and egress points. It was also noted that the EXIT from this area is not actually a fire door, further re-inforcing the point that an exit sign is not required.

Funnily enough there is no fire exit from this part of the building.


It was an interesting exercise and thanks for all the creative ideas, I'm sure they will be utilised by me or other readers at some point along the line.

I get the feeling I will have many of these coming up soon as we have a new WPHS representative who seems keen to address as many 'safety' concerns as possible.
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Cheers
Clint Dulieu
vrtp

[haydnb]

I realise this is kinda an old thread, but for the sake of future applications and people researching for a similar issue:
In 2004 The Sydney Theatre Company (STC) did a production of Ibsen's Hedda Gabler where they blacked out the entire auditorium for the all set changes (I still don't know how they did the complex set changes in pitch black on a set full of steps, but that's a different story). They had FOH staff holding little curtains on sticks over the exit signs during set changes only which could obviously be pulled down quickly in the unlikely event of an emergency.

It was that dark in the auditorium (Wharf Theatre, Walsh Bay) that you couldn't see your own hand in front of your face. It was directed by Robyn Nevin and starred Cate Blanchett and Hugo Weaving with the design by Nick Schlieper. They had a post-show Q&A where it was asked about that and we were told that's how it was done (I assume via a risk assessment). I know some members are in contact with Nick, so may be able to seek clarification, but this is the only show I've been too where it's been done.

Hope that helps.
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Lighting Director Local Theatre Groups,
Semi-Pro Groups
Beginner Designer

[Andy Ciddor]

[haydnb]