danceTactics performance group
Keith A. Thompson, Artistic Director
GENERAL TECH RIDER
Please Note: This rider is an integral part of the contract. It must be signed and returned with the contract in order for the contract to be considered fully executed. A careful review of this rider by qualified personnel familiar with the performance space is strongly recommended. Any questions concerning modifications to this rider should be directed to Brendan McCall, Company Manager.
danceTactics performance group
Company Manager
Email: Brendan.McCall@dancetactics.org
Phone: 646-831-5150
GENERAL OVERVIEW
This rider is intended as a general guideline for basic needs of danceTactics performance group repertory. danceTactics performance group (herein referred to as “the Company”) will be as flexible as possible to accommodate the needs of the
Presenter and the specific limitations of the venue. However, the Presenter and/or venue must contact the Company Manager to discuss any and all deviations from the Technical Rider before the Performance Agreement can be fully executed.
Please initial each section that you can fulfill; this is required. If you cannot fulfill a certain section, write what you can provide. The Company can be flexible in terms of where and how they are presented, each section MUST be accounted for. Due to the breadth of this repertory, there may be further expenses for the presenter depending on which pieces are performed. (For instance, some danceTactics pieces are performed with projected images, and some with simple set pieces). Repertory-specific details will be included in an Addendum to this Rider, which may supersede general details laid out in this rider on a case-by-case basis.
Most of the danceTactics rep is based on a theatre with a fly loft, black Marley dance floor, a white cyclorama (cyc) and black scrim, four sets of legs and borders, an extensive light plot (including four sidelight booms per side, two follow spots, and a groundrow for the cyc), and a typical running crew of five stagehands/ops and one dresser. ALL OF THESE are provided by the venue.
danceTactics will provide costumes necessary for each performance, a custom line schedule, light plot, and tech schedule for the theater based on the information provided by the venue; and will make every effort to produce this paperwork four weeks in advance.
The Venue will provide complete and current Technical Specifications for the venue including: lighting, sound, and video equipment inventory; line sets and stage dimensions (including ground plans, and section view to scale) – to be sent to the Production /Company Manager at the above email address no later than two (2) months prior to the first day of load in
danceTactics is not a yellow card company; however, we welcome the opportunity to work with an IATSE crew. If appropriate, please call to discuss our tech schedule to be sure it is compatible with the details of your existing IATSE contract. If you are not employing an IATSE crew, please be sure to carefully review the “Stage Labor” portion of this rider to be sure the crew you provide meets our basic needs.
Contents
GENERAL OVERVIEW 2
STAGE 4
BASIC DIMENSIONS 4
STAGE FLOOR 4
SCENERY 5
SOFT GOODS 5
OTHER SCENERY 5
LIGHTING 6
IDEAL INVENTORY 6
SOUND 8
EQUIPMENT 8
BACKSTAGE 9
DRESSING ROOMS 9
WARDROBE 9
STAGE LABOR 10
STAGE SCHEDULE 11
TEMPERATURE 12
HOSPITALITY 13
GENERAL CONDITIONS
The Company requires the exclusive use of the venue from load in to load out. The Presenter shall provide a venue that is clean, appropriately staffed and well maintained throughout; including public, stage and backstage areas.
STAGE
BASIC DIMENSIONS
All of the following are optimum dimensions; minimums are in (parentheses).
Proscenium Opening: 40’ wide x 24’ high (38’ x 20’ minimum)
Stage Depth: 35’ (Plaster Line to black scrim / cyc) (28’ minimum)
Offstage space: Suitable room to execute quick changes out of sightlines will
typically be sufficient, 4’ offstage of legs.
Crossover: 5’ from cyc to back wall. (3’ minimum). An upstage hallway is acceptable if
it is at stage level, well lit, clear of obstructions, and not slippery, such as a
waxed floor. Carpet or marley runners may be necessary in that event.
STAGE FLOOR
The stage floor must be wood (preferably a sprung floor), smooth, level, and even. It may be covered by a hardened non-textured surface such as hardboard (Masonite). Whatever the top surface, it should be free of splinters, holes, nails, screw heads, and other imperfections. Over this floor should be a black Marley dance floor, such as Rosco or Harlequin, of sufficient size to cover the dance area and the wings. This floor and Gaffer’s tape to install the floor must be provided by the venue, unless otherwise agreed, and laid prior to the company’s arrival.
The Company will not be required to rehearse or perform in any theater or other facility which is unsafe or unsanitary, or which contains a floor that is not a safe floor for dance. No rehearsals or performances will be located on a concrete or marble floor, or upon any other inflexible surface.
Dust mops, wet mops, and hot water with no soap must be available (alcohol mopping is also welcome and preferred). The stage is to be swept and (alcohol) mopped just before the house opens and as needed during rehearsals and tech. There should be an available entrance and exit directly leading onto the performance area from the dressing rooms.
That the stage, wings and crossover are entirely cleared of all other equipment prior to the Company’s arrival and acknowledges that the Company will require unrestricted use of the stage and hall during the day of performance(s), including during lunch and dinner breaks. The backstage area must allow for entrances, exits and crossovers. Please ensure that wings and crossover are cleared of all sets and debris prior to the Company’s arrival. The Company will need exclusive use of the stage at all hours of engagement unless detailed notice is given in advance and consent is obtained from the Company’s Production/Company Manager. The Company will require adequate heat and ventilation in the theater whenever the Company is present. Only the Company’s Production/Company Manager can determine whether conditions are adequate.
SCENERY
All scenery is show specific. Please see addendum for details. As a general practice, danceTactics ships all scenery and its hardware prior to arrival. In some instances, we may ask the presenter to provide small scenery (i.e. escape stairs, rigging hardware, etc.) for ease of touring and load in.
SOFT GOODS
The following is a list of soft goods that must be provided by the venue and hung according to the line schedule prior to the company’s arrival. All battens must be at least 50’ in length.
1) Main Curtain, manual guillotine preferred, traveler and/or motorized acceptable.
2) Grand Valance/Teaser to mask Main Curtain.
3) Cyclorama with or without bounce. Must be flat, not wrap-around. White
preferred.
4) Black sharkstooth scrim. Hung in front of cyclorama, depending on rep.
5-12) Legs and Borders, four sets, black velour. Prefer zero fullness. Check line
schedule for trims. In deeper houses, a fifth set may be needed to mask the cyc.
In addition, the Rep uses:
13-17) Electrics: 5 overhead battens dedicated to lighting
18-23) Scenery will depend on which pieces are performed; up to 6 battens may be used.
All of the above totals 23 line-sets. This is exclusive of overhead obstructions such as orchestra shells, travelers, movie screens and other really heavy stuff no one ever wants to move.
OTHER SCENERY
Some danceTactics pieces have non-flown scenery, which seldom cause a space problem except in especially small houses. danceTactics Requires a 3x6 prop table on each side of the stage, with a light for each (a light on a music stand works just great).
IMPORTANT: In many instances, flame-proofing certificates are no longer on file at danceTactics. If your theatre requires such documentation or other unusual procedures around fire safety, it is your responsibility to bring it to our attention when the contract is signed. To date, this has never been an issue.
LIGHTING
danceTactics Lighting Designer will send a custom plot for your venue at least 10 days ahead of our load-in. This plot will be based on the specifications, dimensions, and inventory which your venue provides. The more accurate your information, the better the plot. In most cases, we will be able to adapt to your equipment without requesting additional gear (rented at the venue’s expense). The inventory below is intended as a guide. If your inventory is a close match, we’ll do our best to make it work. Please note when checking the list: only fully working, adequately maintained gear with lamps (and spares) counts.
The load-in schedule requires that the entire light plot, including FOH, overheads, booms, ground row, and follow spots be hung, circuited, patched, and tested prior to the first day danceTactics staff arrives. All exposed cables or other obstructions in the crossover, wings, stage entrances/exits, stairways and other areas traveled by the Company shall be appropriately covered with cable ramps or rugs as necessary to prevent injury to the Company. Please plan accordingly.
Please do not substitute any color or instruments without first consulting the Company Manager. Providing all necessary lighting equipment, gels, and template holders is the responsibility of the Presenter/Venue. Please be sure you have plenty of pattern holders and note which instruments they fit on your instrument inventory.
IDEAL INVENTORY
Front of House: Sufficient equipment to create 2 even color washes and 1 even template wash across the front edge of the dance space, from a cove (catwalk) position.
Sufficient equipment for 2 diagonal color washes from a SL and SR Box Boom position,
Sufficient equipment for an appropriate Main Curtain wash (warmers),
Sufficient equipment for an even apron wash to be used for curtain speeches, audience Q & A, and select repertory pieces. Front wash (NC) required and additional high side wash (L202) from a torm or similar position preferred.
Onstage: The base repertory plot requires approximately 120 units onstage. Instrument and wattage substitutions will be considered where appropriate and feasible and at the discretion of danceTactics’ Lighting Director.
Instruments
16 ETC Source 4 ERS – 19° (575w)
32 ETC Source 4 ERS – 26° (575w)
42 ETC Source 4 ERS – 36° (575w)
12 8” Fresnel (2kw)
18 ETC Source 4 PAR – MFL (750w)
* Additional inventory will be required depending on selected repertory pieces. Additional inventory is typically anywhere between an additional 10 to 30 units but can be more
** Sufficient equipment for both a 3 color overhead cyc wash and a 3 color groundrow cyc wash as determined by danceTactics’ Lighting Designer
Accessories
18 Template Holders (A-size preferred)
* Additional template holders of both A-size & B-size may be required depending on selected rep
Positions
5 Overhead Electrics, typically trimmed at 30’ from deck.
8 8’ tall sidelight booms, typically 3 units per boom
8 Ladder positions ranging from 16’ to 22’ in height. Alternate positions will
be considered if typical ladder positions are not possible.
* Additional positions may be required including additional overhead pipes, booms, units on rep booms, ladder or wing positions, and/or floor or scenery mounted units, depending on selected rep
danceTactics repertory plot uses a 15 unit PARNel backlight wash with Wybron Forerunner color scrollers. Alternate backlight washes can and will be considered depending on a variety of factors, including but not limited to danceTactics travel arrangements and touring schedule; venue’s and/or presenter’s available inventory; selected rep to be performed; and load-in, tech, and performance schedule.
Followspots: Select pieces in the company rep require a follow spot or a bridge spot. Once the repertory is selected, we will let you know the requirements.
Dimmers: 150 @ 2.4 kw, not including dimmers allocated to curtain wash, house lights, aisle & seating lights, architectural and/or lobby lighting, and any other “utility” lighting. This number is not exact and is intended as a guideline. Exact number of dimmers required depends on the selected repertory and other various factors.
Light board: A computerized lighting boarding capable of executing recorded cues (including point cues, auto-follow, and multi-part cues) is required. The light board must be able to operate basic intelligent lighting and support a minimum of 250 channels of control and 2 DMX “universes”. ETC Eos family consoles are preferred, and danceTactics will likely already have the rep in an ETC formatted showfile. If console is a different make/model, then additional load-in & programming time will likely be required in the production schedule. Venue must supply a light board operator that is trained and competent in the operation of the lighting board. A designer desk (tech table) located in a mid-house location with clear view of the stage, a display screen showing console data, and a Clear-Com (or equivalent) to communicate with light board operator are required for technical rehearsals.
Projectors: Some danceTactics rep pieces have projection needs. Please see Addendum and discuss video needs with danceTactics Company Manager after the rep has been selected.
Other: Hardware for eight booms (sidearms, tie-offs, weighted bases and sandbags), appropriate amount of cable and safeties for provided light plot, and a safe focus ladder or lift are required.
SOUND
danceTactics is primarily Qlab based, but also travels with digital MP3 files available via connection via USB cable. Some pieces do have pause-and-restart sound cues, so Qlab is preferred. House sound levels are set in rehearsal and should not be adjusted during the performance. Monitor mix should be separate and also set during rehearsal. danceTactics carries no sound gear other than digital copies of MP3 sound files All audio hook up, patch, rigging, etc. should be completed prior to arrival.
EQUIPMENT
The system must include:
Playback: Q-lab preferred. A full range system capable of reproducing 4 channel programs in a wide range of musical styles with smooth and even frequency response throughout the auditorium. Mixing console should have a minimum of 8 mic inputs and 16 line inputs, 4 bus outs, 4 aux sends. Should play all formats of MP3.
PA: Normal PA, mixer, amps, speakers for the venue.
Monitors: A stage monitoring system, mixed independently of the house mix, (optimally four (4) on stage monitors total). At least two Aux sends should be POST Fader Level capable. Stage Monitors should be in the first and third wings. Ideally monitors should be able to be rigged off the deck, either off a pipe or offstage of the lighting boom (positioning TBD). Cable should run offstage before routing to a jack.
Microphones: One (1) “God-Mic” (SM-58 or equivalent) located at the tech table and bussed to the monitor system for use during tech rehearsals. One backstage for preshow and/or intermission announcements. This mic should have enough cable to reach the downstage center (or be wireless). Two (2) stereo hanging mic (positioning TBD)
Headsets: For technical rehearsals and shows, the venue must provide a clear and reliable intercom system and headsets at each of the following positions.
at Stage Manager’s, Production/Technical Director position (backstage)
on deck - 1 at the rail position, 1 on stage opposite 1 at the lighting control desk 1 at the sound console, 1 in the house for Designers during tech and cue writing Communication must be provided for Stage Manager and or Production/Technical Director from house/backstage to dressing and green rooms for place calls.
FOH Camera: Stage Manager calls from the stage during the show, preferably SL near the proscenium. There are instances where cues are taken from performers downstage of offstage calling position. We request a live video feed from a FOH position routed to SM calling position.
BACKSTAGE
Company will determine dressing room assignments during load-in. If at all possible, dressing rooms should be at stage level. A separate large room must be dedicated to wardrobe workspace and must be at stage level. Please check to see that soap, towel, and other supplies are stocked, and that scheduled maintenance such as waxing floors, re-carpeting, fixing leaks, adding cabinetry, rerouting plumbing, or any other potentially disruptive activity is not scheduled to happen at any time during danceTactics´ residency.
DRESSING ROOMS
Company: single dressing rooms when possible or 2 dressing rooms, each with space for six people, equipped with toilets, tables, chairs, mirrors, lights, sinks, showers, and 20’ of hanger space. Dressing rooms must be near the stage. A minimum of 10 bath towels and 10 hand towels clean per rehearsal and performance.
Artistic Director: A separate dressing room is ideal for the Artistic Director.
Production: A separate space for Production is ideal. It should have power and Wi-Fi available (or wired internet access).
WARDROBE
Wardrobe: 1 large room equipped with:
- 1-2 washers
- 1-2 dryers
- 2 work tables 60-72” long x 29-30” high
- 2-3 rolling racks
- Steamer with distilled water
- 2 large laundry baskets
If no laundry equipment exists, presenter must facilitate runs to nearby commercial laundry and extra laundry baskets.
This room is not suitable to double for catering.
Backstage: 5 chairs without arms, 5 on each side of the stage. 1 laundry basket with 8 towels and a box of tissue per side of stage.
Page System: Dressing rooms should carry program sound and calls from stage manager.
Crew: The venue will provide a Production/Technical Director with authority to be present at all times when the Company is in the theater. The Presenter must arrange and pay for all crew personnel. The crew must be dressed in all black for the run of the show(s). The same crew personnel must work the rehearsal(s) and show(s) for the run of the engagement, unless special circumstances exist. The following crew will be necessary provided the venue has arranged for the light plot to be pre-hung and the Production/Technical Director can begin his/her focus immediately.
Load In, Set Up and Focus Crew: Running Crew:
Lead and or Presenter Technical Director
Carpenters (including lead) 1 Fly Rail
5 Electricians (including lead) 1 Stagehand
1 Lighting Engineer
1 Audio Engineer
1 media Engineer
1 Electrician / Board Operator
1 Props
1 Wardrobe Depending on the repertory, at least one experienced dresser may be needed. This must be the same person throughout danceTactics´residency, and must have the basic wardrobe skills in addition to experience in quick changes. The Company shall have access to laundry facilities, iron, ironing board, steamer, detergent, and fabric softener.
STAGE LABOR
danceTactics is not a yellow card company; however, we welcome IATSE stagehands. Please contact us to be sure our production schedule is compatible with your IATSE contract regarding any minimum calls, department divisions, etc.
We at danceTactics pride ourselves on our compatibility with the local crew, whatever their experience or background, though to create the best show for your community we have some very basic requests surrounding our local crew:
1) Everyone at least 18 years old.
2) Everyone capable of safely doing their job.
3) Light board operator must know how to program the board.
4) Sound board operator must know how configure and run the sound system.
5) Same running crew from dress rehearsal through the final show.
6) At least one person who knows where everything is and has the keys required.
The show crew depends on the repertory but will always be at least 5 and is as follows:
One stage supervisor plus Light Opp (1), Sound Opp(1), Flyman (1), Deck (1), Wardrobe (1).
Some danceTactics repertory requires additional crew which may include: loaders, flymen, a dresser, deck hands to change to a white floor, followspot operator, etc.
The initial load-in and strike crew totals 8 (not including supervisor):
Electricians (4), Flyman (1), Carpenters (2), Extras/Wardrobe (1)
The actual tech schedule and labor count will be arranged between danceTactics´ PM and the venue’s TD, as soon as possible.
STAGE SCHEDULE
For load in, set up, focus and rehearsal, the Company requests ten to twelve (10-12) hours in the theater, assuming all the requirements in this agreement regarding load In and pre-hang are met. On the day prior to the performance, the Company requests eight (4) hours for finishing focus, tech, and notes, and four (4) hours for spacing. On the day of the performance, the Company requests four (4) hours for final/troubleshooting of any tech including; cueing lights, and sound and four (4) hours for technical rehearsal ending no later than 2 hours before curtain. The exact schedule will be mutually agreed upon by the Presenter and the Company Manager closer to the time of the engagement. In multi- performance engagements, the Company shall have access to the theater and sound system for three hours (3) before each performance for warm-up and rehearsal. From one hour to a half hour before house opens will be reserved for technical issues, requiring necessary crew support from the venue.
LOAD IN
Prior to the Company’s arrival, all lighting should be pre-hung, colored, and rung out. All soft goods should be hung or moved according to the Line set Schedule. If this is impossible due to time limitations preceding the company’s residence, arrangements should be made for rigging and lighting crews to work simultaneously. Load in crew should include at least one specialist in sound, lighting, media and scenery/rigging and the entire crew must be of an adequate size for the time allotted.
In addition, five (5) hours should be allotted to focus the plot with a crew of four (4) technicians and the local electrics lead supplied by the theater. Decisions regarding crew, scheduling and sequence of load in should be discussed and agreed upon with the company’s Production/Technical Director prior to load in.
TEMPERATURE
A minimum of 70 degrees F, must be maintained on the stage and in all dressing room areas whenever the dancers are present in the theater. There must be no drafts on stage or in the dressing room areas which could affect the health and well-being of those involved in strenuous physical activity. “Computer-controlled” HVAC systems do not void this provision of the contract, and this section will not be modified or struck from this agreement.
SAFETY/MEDICAL
At all times when the Company is in the theater, rehearsal studio or otherwise engaged in performance or residency activities, the Presenter shall maintain, within close proximity, a basic First Aid Kit complete with ace bandages, band-aids, anti-bacterial ointment, and ibuprofen; ice with ice bags or ice packs; and, for all stage performances. The Presenter will provide, upon request of the Company, contact information for local doctors, including a chiropractor. These items and conditions are a matter of safety for the Company and are non-negotiable.
HOUSE MANAGER
The House Manager must clear the opening of the house with the Production/Company Manager. The Company generally starts on time, unless the Company TD or Presenter’s needs require holding the curtain. Holding the top of the show will be no longer than ten minutes.
Please retain adequate house staff to keep the public from entering the backstage area after the performance. The Company will meet their guests in the lobby, or other designated area after the performance. Exceptions to this will be made at the discretion of Company management.
HOSPITALITY
Listed below are the requirements for danceTactics hospitality. For days when dancers are scheduled for rehearsals and performances, water and ice should be at the Venue in time for the dancers’ arrival.
WATER: Beginning with First Dancer Rehearsal and for each Performance, the Presenter must provide at least 3 gallons of drinking water on the Stage. danceTactics travels with their own refillable bottles.
ICE: Given the potential for injuries, we also require approximately 7 - 10 pounds of cubed or crushed ice to be on hand whenever dancers are in the theatre. This should be in a freezer or ice chest in the wings or adjacent to the stage; i.e., in the Scene Shop or Green Room, if at stage level. Ice chest should contain medium (quart-sized) ziplock bags to make ice packs to treat injuries. Ice is for injuries only.
FOOD: Presenter shall provide at all times while Company and technical staff are at rehearsals, workshops and/or lecture demonstrations: Morning Work Calls or Shows: Coffee, bagels, donuts, muffins, cranberry juice, milk, butter and cream cheese for Local Crew and danceTactics staff (2 - 4). If it is a morning show and the dancers (7) are called, add enough for them as well.
On the First Performance Day where the entire company is called for a full day, please provide enough to feed 12 danceTactics company members:
● Healthy Hot Soup
● Deli-style trays of meats and cheeses sandwiches.
● Deli tray of raw vegetables w/ variety of salad dressings.
● Bread, rolls and condiments, including a gluten free option.
● Hot pasta dishes and pizza are fine.
● Vegetarian options for all meals are required. Vegetarian protein options must include at least two of the following:
o Eggs (Egg salad OK – but more eggs than mayo please)
o Hummus
o Tofu
o Seitan
o Tempeh
o Veggie burgers
o Nut butter
● Plenty of liquids: Juices, soda, herbal teas (hot and/or cold), coffee.
● Plates, utensils, condiments and napkins.
A hot meal (with a dairy free vegetarian option) shall be provided for the entire Company between matinee and evening performances and between the dress rehearsal and performance if technical scheduling does not allow for an adequate meal break, which shall be three (3) hours from end of rehearsal/performance to show call. This shall include a fresh mixed green salad with dressing and a hot entrée.
*TRANSPORTATION:
The presenter will provide ground transportation for danceTactics performance group’s national/international tours per contract for transportation to and from the airport, hotel, and venue.
PARKING
The Presenter will provide ample, accessible parking spaces for Company vehicles, as needed. These requirements vary, according to tour location, etc. If it is necessary to arrange parking passes, the Presenter will do so prior to the Company’s arrival.
INTERNATIONAL TOURS
*SUPPORT PERSONNEL:
2 Translators
A translator must be made available throughout the duration of the tour by the presenter, if necessary.
PHYSICAL THERAPY: danceTactics requests recommendations from Presenter for local physical therapists.
INSURANCE
Discuss with Company Manager and or Booking Manager
GENERAL TECHNICAL REQUIREMENTS
The Presenter will provide adequate insurance coverage including insurance against losses due to fire or theft and personal liability insurance covering the activities of the agreement. The Presenter agrees to indemnify and hold harmless the Company of and from all claims of all persons for personal injuries or property damage arising in any manner in connection with said activities, except to the extent that such claim may be occasioned by the negligent act or acts of the Company.
LOCAL MANAGER
Should the Presenter be unable to be present at all times during the period of activities covered by this agreement, then a local manager shall have the power and understanding to resolve any disagreements arising from misinterpretation of this rider, and to act on behalf of the Presenter whenever the need should arise.
Should the Presenter be doubtful of any of the technical requirements, or any technical aspects of the forthcoming performance, s/he should immediately contact us to discuss alternative possibilities before signing the technical addendum. Any and all items of this addendum are negotiable.
PLEASE SIGN, DATE AND RETURN WITH CONTRACT
___________________________________________
PRESENTER DATE
___________________________________________
PRESENTER’S TECHNICAL DIRECTOR DATE
___________________________________________
PRESENTER’S EXECUTIVE DIRECTOR DATE
THIS IS THE FINAL PAGE OF THE danceTactics Mixed Rep TECHNICAL RIDER, SEE ADDENDUM BELOW FOR SPECIFIC DETAILS
Contact:
Kristopher MacDowell, KMP Artists -
Brendan McCall, Company Manager for danceTactics -