power distribution — The Grunt

Picture an empty room. Could be a theater, could be a festival stage, could be a convention center ballroom that smells aggressively of the previous convention. Doesn't matter. It's empty, it's yours for a finite window of time, and somewhere in the near future, people are going to walk into this room expecting to experience something. Your job — our job — is to build that experience from nothing, in that window, with the crew and equipment and budget you have been given, which is never quite the crew or equipment or budget you would have asked for in an ideal world because the ideal world does not book shows.

This is the load-in. This is the fundamental unit of live event production. Everything else — the rider, the call sheet, the advance work, the production meetings — is in service of this moment: the window in which a room gets transformed. I have been doing load-ins for twenty years, across venues ranging from a converted warehouse in East LA where the loading dock was a ramp that gave every road case its own opinion about physics, to the Oscars Red Carpet, which has its own particular brand of controlled chaos that I will absolutely tell you about at some point. The anatomy is more or less the same every time. Let me walk you through it.

**Before anyone touches a case: the advance.**

The load-in starts before the load-in. It starts in the production meetings and the phone calls and the site visits, sometimes weeks out, in which the production team figures out what they're walking into before they walk into it. Ceiling height. Power availability. Load-bearing capacity of the floor and the fly system if there is one. Where the loading dock is and whether a 53-foot trailer can actually back into it or whether the venue's optimistic self-description of "truck accessible" means something more creative is required. What the union jurisdiction is and what that means for who can touch what.

The production manager advances the show. The department heads advance their departments. By the time the crew shows up on load-in day, the people running the call should already know exactly what they're walking into, which is to say they have done everything possible to eliminate surprises, knowing full well that there will still be surprises. The advance is how you make sure the surprises are merely annoying and not catastrophic.

**The order of operations.**

Load-in has a sequence, and the sequence matters, and deviating from it without understanding why the sequence exists is how you end up with lighting hung before the audio snake is run, which means you have to move some of the lighting to run the audio snake, which means you're doing things twice, which means you're now behind, which means someone is making a phone call they don't want to make about whether the show goes up on time. Here is the basic sequence, understanding that every show deviates from it in some way and the entire skill of production is in knowing when you can deviate and when you cannot:

*Structure first.* Stage, deck, risers, platforms — anything architectural goes in before anything else, because everything else sits on top of it or hangs from it. You cannot hang a lighting rig from a truss that hasn't been flown yet. You cannot run cable across a stage that hasn't been built. Structure is the skeleton and everything else is meat, which is a slightly grim way to think about it but accurate.

*Rigging second.* If anything is going above the deck — truss, motors, chain hoists, audio hangs, scenic elements — rigging happens early, because once the stage is full of people and equipment, access to the roof gets complicated and slow. This is my world and I will have a great deal more to say about it in a future post, but for now: everything that flies gets figured out before anything that rolls gets rolled into position.

*Power third.* Distro runs, feeder cable, generator connections if the venue power isn't sufficient, which it often isn't. Power goes in before the stuff that needs power, which seems obvious but is the source of a remarkable number of delays when the sequencing breaks down. You need to know where the power lives before you know where the gear lives.

*Audio and lighting.* Roughly parallel, often with some creative negotiation about whose cable needs to be where, because audio and lighting both have a lot of cable and cable has opinions about space. Good departments communicate. Less good departments discover each other's opinions at the exact worst moment.

*Video, if applicable.* LED walls, projection, screens — these tend to go in later because they're sensitive to other things happening around them and because the picture of what the show looks like visually often sharpens late in the process. This varies enormously by show.

*Scenic.* Set pieces, props, dressing — the stuff that makes the space look like the thing it's supposed to look like. Scenic often happens in layers, with big structural elements early and dressing late.

*Tech.* Once everything is physically in place, you tech the show. You test everything. You find the things that don't work and you fix them. You adjust. You compromise. You make the version of the vision that is achievable in the time and space and budget available. This is where the production manager earns every dollar they have been paid and then some.

*Doors.* At some point, doors open and the audience comes in and the whole complicated machine becomes invisible and the only thing that exists is the show. That's the goal. That's always the goal. You build something complex enough to disappear.

**The thing about time.**

Every load-in is a negotiation with time, and time is always winning. The window is always shorter than you want and the scope is always slightly larger than what fits comfortably in the window, and the entire practice of production is learning to do more with less of both. The people who are good at this — really good — have an internal clock that is always running, that is always doing the math between what's done and what's left and how much time remains, and that math is always running in the background behind every other decision they make during a call.

When you see an experienced production worker look at a space and say "yeah, we can do this" or "we're going to need to cut something" — that's the clock talking. It's calibrated by years of load-ins, by every time they were right and every time they were wrong and what they learned each time. You can't teach it out of a book. You can only get it by doing the load-ins, over and over, until your body knows what your brain is still trying to calculate.

That's the anatomy. Come back Wednesday and we'll talk about the document that holds the whole thing together.

— Dots