Communication headset systems get their own series of articles because they are one of the most important systems in a theatre to make any event or production run smoothly. No matter the size of your theatre, if you don’t have a headset system – get one. If you don’t have enough - get more. If you only have wired - get some wireless as well.
Headsets are a vital element of a theatre design. Without headsets the crew cannot communicate to each other. For a substantial size show, the Stage Manager calls the show - this means that they tell every crew member when to take every cue. Each crew member knows what each of their jobs are at Cue 12, but the Stage Manager keeps an eye on the show and tells a crew on standby when Cue 12 happens. Without this system the success, and even the safety, of the show is compromised. During smaller one-time events where there is only one, or even no, prior rehearsal, and often no Stage Manager, it is imperative that the crew be able to communicate to each other in order to stay one step ahead in order to coordinate their jobs.
You will hear of two types of headsets spoken about around a theatre. One type belongs to the theatre’s communication system that the crew uses, the other kind are mics that performers wear. Usually if you just hear the term “headset” we are talking about the communication system. Also, you will hear the whole arrangement, which includes the headset, beltpack and cables referred to as “the headset”. Technically the beltpack carries the power and the headset itself is plugged into it, but we call the whole thing “the headset”. When a Stage Manager tells their crew to “set up the headsets” they mean to plug in or put in place the headsets, cables and beltpacks.
Headsets are a priority item. Try to get the best brand money can buy, but if you can’t shift the budget to purchase even an inexpensive headset system, at least find some way so that the crew can communicate to each other. I’ve worked with walkie talkies, lately cell phones, even a baby monitor. Yes, it’s true. In one theatre we did not have any headsets for the followspot operators up in the catwalks, so I brought in an old baby monitor that I had a home. We put the receiver (the end parents would have with them) by the followspot operators and I held the transmitter (the end that would go in the baby’s room). That way I could talk to the followspot ops and relay cues to them and they could hear me. Of course they couldn’t talk to me, but I could tell each time they received my commands by the correct adjustments made to the followspot light. Find something that works; the smooth operation of every show, not matter how small, depends on communication between your crew members.
More in two weeks….
