Cue3Go!

Issue 20, 2023

Techie Tip of the Week

HEADSETS - WIRED VS WIRELESS

Part 3 of a 5-part series on HEADSET use in your theatre.                     Posted every other week.

There are two ways headsets are powered.  One way is by DC, which is batteries (rechargeables save a lot of money – you can spend hundreds of dollars a year on headset batteries - so be sure to include rechargables in your spec’s or purchases).  The other is by AC, which is plugged into the theatre’s hardwired system by way of a cable.  Both wireless and wired headsets have their benefits and you should spec some of each.  

WIRED

Wired headsets don’t eat up batteries, and are best for people who don’t have to walk around.  For instance, the light board and sound board operators don’t usually have to leave their positions during a show, nor do the followspot operators, because boards and followspots are not portable. (Although, that said, even board operators occasionally have to get up from their post to attend to something that might be happening ten feet away.  With a wired headset they would then would have to temporarily ‘go off headset’ and might miss a cue being called.)

WIRELESS

Wireless headsets are best for crew who need to move around, such as a fly system operator.  They may have to fly out a drop on Lineset 6 and then rush to fly in a drop at Lineset 20. The fly rail area can be a dangerous place (see The Counterweight System chapter), and although there may be policies that any actor waiting in the wings should stay away from the fly rail, it’s not always possible because of space considerations.  Imagine what would happen if the crew member on a headset attached to the wall with a 20’ wire were to have to move between actors and other crew standing in the wings.  The cable would be a big tripping hazard. 

Another person who has to move around backstage is a Mic Wrangler.  This is the person who is in charge of placing mics on actors who might be sharing them, and is in charge of replacing dead batteries if they occur during a show.

Likewise for the House Manager who has to move around the lobby, in and out of audience members, concession sellers, and the box office.  A cable would be very impractical.

WHO GETS WHICH

From our original list of positions, here’s who should have what headset capability.

Stage Manager     

The Stage Manager should have both options; a wired headset in the booth if they are calling the show from the booth and a wireless headset to wear if they are calling the show from backstage.

Light Board Operator

The Light Board operator can make do with a wired headset most of the time, but a wireless headset would be optimal. 

Sound Board Operator

The Sound Board operator (located in the house, because you’ve read this book) can make do with a wired headset most of the time, but a wireless headset would be optimal. 

Followspot Operators

Followspot operators rarely have to move from their positions, because they are usually located in the beams or catwalks or another position away from distractions.  So they can have wired headsets. Ideally, though, they should each be able to plug into their own jacks, even if they are standing next to each other.  The headset wires should be carefully located and taped down so that there is no tripping hazard.

Flyman/Fly Rail Side of the Stage

Wireless. Say no more.

Stage Right or Left – the other side of the stage from the fly rail

Get out your crystal ball and decide if the person standing back stage will be issuing orders from where they stand, or whether they will need to move around for set changes, etc.  A wired headset is better than no headset, but a wireless headset would be the best choice for flexibility in a variety of show situations.

Center of House – tech table position

These – at least two jacks are optimal – can be wired.  If someone needs to go off headset while at the tech table during a rehearsal, that’s ok.  It’s not likely that anyone would be sitting at a tech table in the house during a show, when leaving a headset could jeopardize the show.

This all said, if you have the choice, there’s almost no point in the design, labor and material costs involved in installing a wired system, as it’s so restrictive.  It’s optimal for everyone to be able to move around with a wireless headset. 

This editorial is the express opinion of Beth Rand, and is not intended for substitution for professional advice regarding your specific situation or circumstances.

Leveling-Up

Online courses for school theatre teachers and staff

to find out more about the courses please visit:

Theatre Management Training Course

Theatre Management Tutorials

Lighting and Safety Courses

Safety Webinar for Students

Dear Techie,

I'm currently getting my theatre degree.  When I graduate and get a teaching position I’d like to teach a technical-focused theatre class as well as an acting-focused class. Would I be able to do both as a teacher?

Newbie in TN

Dear Newbie,

It can depend on the state, and even the district, you are in.  But one thing that is nationwide, that you should be prepared for, is the propensity for school and district administrators to assign the management of all of the theatre events (whether there are outside rentals or just(?) a myriad of school events) to the theatre teacher (sometimes a music teacher, but more often the acting or tech theatre teacher). 

More and more schools are building performing arts centers (PACs) on their campus these days, but many Drama teachers are still having to go it alone and are wearing many hats.  If you’re not lucky enough to be hired at a high school theatre that has acting classes, CTE tech theatre classes, a Theatre Manager and a staff of theatre technicians, then be prepared to not only wear all those hats, but be prepared to advocate that your theatre be staffed properly moving forward.  Whether or not your theatre has outside events that use the facility, it’s likely that many school events will use the theatre (concerts, meetings, talent shows and so on), and if that’s the case it’s more than likely that managing the space will fall on your shoulders, as I mentioned above, just because you are the theatre teacher.  You may or may not get paid, or even recognized as the Theatre Manager.  Something to inquire about before you are hired – what exactly will your duties be beyond teaching.

Another thing to look for is a CTE (Career and Technical Education) certification in your state.  Technically minors should not be doing the kind of things they do in a theatre unless they are in a "bona fide" training course. This doesn't always happen in reality, but you should be prepared to treat your students as if they are in a CTE course (for example, steal the woodshop teacher's power tool CTE tests, and use them with your scene shop students).  A CTE endorsement is another validation to add to your teaching certificate, the certification training is usually much shorter than getting a degree, plus CTE courses are federally funded, so you get more funds for your classroom (aka: theatre).

Unfortunately, school theatre management isn't something that is taught as a part of a theatre and/or education degree (that I know of), even though many school theatre teachers in the country require just those skills.  That's why I created the High School Theatre Management Training course.

Some schools/districts/states are ahead of the game, and do hire Educational Theatre Managers, whose job it is to manage the school theatre(s) and who don't have any formal teaching duties, so this might be another option for you when you start your job hunting.

All the best – it’s so great you are thinking about all of this ahead of time!

Submit your Dear Techie questions to [email protected].  

You know you're a Techie when...

- You set the kitchen light so that it's just right.

- You wake up and wonder if you have missed your cue.

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Submit your Bad Theatre Joke or Funnies to [email protected].

It is PRESETT's mission to provide information to assist in endeavors for safe and functional operations of school theatres. However, PRESETT is not a safety consultant or professional, and any information provided or advocated is not intended to supplement, not supersede, industry safety training. Always consult a theatre safety specialist about your specific situation or circumstances.