Access All Areas May 2019 | Page 25

MAY | FEATURE very popular. There was a lot of business from orchestras at stately homes in the 80’s. It was a very English start, but the models quickly became popular internationally. What’s so different about the Pyramid? We employ CAD designers, structural engineers, fabricators, logistics experts, financial professionals and of course, the crews and drivers who get on site from our Somerset base. All our stages, buildings and sit structures are designed and manufactured here. There’s no doubt that Glastonbury festival has been a great part behind our development. But it’s wider than that: I think we’re people who want to make it special, always finish the job whatever the obstacles and for all the long hours there are family values and a sense of fun. How have staging regulations changed? Thirty-five years ago no one was even looking at us! We started in trainers and t-shirts. I believe we were some of the first pioneers with the introduction of steel toe cap boots and Hi-Viz PPE gear for our crews. As the industry grew in size and professionalism, different Local Authorities applied a range of licensing standards across the years. From 2008 to 2012, the rise of CDM regulations were a huge change, prompted by the Olympics - when construction met entertainment. We formed a close relationship with the Health & Safety Executive, particularly Gavin Bull, in looking to establish a practicable set of best working practicesy. There were a lot of resources focused on the Olympics, but once they’d left town we probably only have 21 inspectors with knowledge of live events left across the whole of the UK, and entertainment is an alien field because of the unique sites and short lead times. On the back of what we learned at the Olympics we invited other staging companies to collaborate within a guidance group, which saw competitors sitting around the table for the greater good of the industry. That produced a document that was acknowledged as best practice ‘guidance for temporary stages and buildings’, covering everything from wind loading to leading edges and the licensing has largely accepted the content to work to – that’s helpful for the whole industry. HC: We found that some Local Authorities had different rules. We were expected to confirm to some H&S that other companies didn’t follow, despite being on the same site, so we wanted some blanket cover. Tell us about your other festival work SC: After Glastonbury, we started working at Reading in the early ‘90s with Melvin Benn. He’s a phenomenal promoter and has been so supportive. That association has led to us taking our stages to Australia, America, North Africa. Melvin’s always been very innovative and keen to increase the production values and customer experience. At Latitude Festival, which he created from scratch, we included elements like decking under the water, to give the appearance of walking on water! Melvin asks us to rise to the challenge – and we do. He has a remarkable passion and energy, which in inspiring and tiring at the same time! What have been your biggest challenges? SC: One technically challenging project involved replicating an EDC US touring set for a one off show in Milton Keynes. We had to fly out, see what they were doing, come back and fabricate it. Sometimes we’ve had overnight challenges, like at the 2012 Olympics, where we had to make changes to structures overnight and drive them back in time for the next day. In the Middle East, we often work to very short lead times to create some very spectacular stages and temporary buildings. The Olympics was a brilliant time for us. We worked on the technology support structures, producing 40 structures in 2012, and a lot of corporate buildings from early on in the cycle. Any other niche work? SC: We’ve worked on film set structures for Star Wars and other films since 1985, which developed into creating large scale film buildings. These projects usually have fantastic non-disclosure clauses that they own the rights ‘across this universe and all others discovered’, so we can’t say too much. But it is a vibrant sector and we have just taken down our newly designed and built MegaNova building, which was a 70m span x 105m long temporary film studio. Michael always pushes the envelope too. He had the idea to create the Bullring at Glastonbury, and it involved a lot of heavy steel work, big lock gates and we created a big amphitheatre around it. What does the industry’s future hold? SC: I’m watching their talent develop – the Max’s [Steven and Holly’s son], the Emily Eavis’/ Nick Deweys and Frankie Tee’s of the world – I’m sure they’ll reach new heights. From a technical production sense, I think lights can only go so far, but we’ve barely begun to see what can be achieved with screens with moving screens, screen walls, 3d, HD and VR – they are becoming integral to painting new creative horizons. It’s always great getting creatives in a room. Often though, it’s about managing expectations of what can be done within time limits. For festivals, the short run time is often an obstacle. You’ve only got that event to create something for – with a tour the budgets reflect that a special will be used many times over. In terms of the future, we also like to give back. Holly and I have planted thousands of trees (2,500 to date) to balance the carbon impact of our work and invest in the future of our (local) environment. I say you can never plant enough trees in your lifetime. Read the full interview at accessaa.co.uk 25