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
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