INJURIES IN THEATRE
Crisis Communications Plan By: Josh Kaczmarek May 2014
TEST EVERY 6 MONTHS
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Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Rehearsal Dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Purpose and Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 List of Key Publics and Emergency Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Crisis Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Media Spokesperson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Interview Tips for Spokesperson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Trick Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Equipment and Supplies for Crisis Control Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Pre-gathered Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 • • • • • • •
Key Messages Holding Statement Mission Statement Annual Reports and Financial Statements “Fill in the Blanks” News Release Inventory and Maps Fact Sheet
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
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Crisis Communications Plan Goodman Theatre Introduction The purpose of this crisis communications plan is to provide methods for the organization of communications in the event of a crisis situation. It will help to effectively manage communications through a formal, professional, and clear way in order to diminish the crisis or negative representation of the Goodman Theatre. The crisis will be focused on Injury. This plan is important because it helps certify that the members of the Goodman Theatre will be taken care of in a time of need; it will ensure that the cast, crew, and audience members are in a safe environment whenever they are on the property. This is a plan to help maintain a safe setting to help guarantee that no crises will take place. There haven’t been any issues reported about the Goodman Theatre. This plan will hopefully help maintain the safe environment they already have. Although, injuries that occurred in other theatres will help us understand what needs to be done and how to go about solving the serious problem. On December 19, 2013, the ceiling of the Apollo Theatre in London’s West End collapsed during their production of The Curious Incident of the Dog in the NightTime and injured more than 80 people with seven people severely hurt. This horrible event, and others like it, helps provide more examples of what needs to be done to make sure that events such as this do not happen.
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Acknowledgments By signing your name below, you acknowledge that you have read the contents of this crisis communications plan and are familiar with the outlined policies and procedures that need to be done during the occurrence of a crisis. NAME (PRINT)
TITLE
SIGNATURE
2
DATE
Rehearsal Dates It is important to ensure that this crisis communications plan remains up-to-date and effective. It will help identify problem areas within the theatre or within this written document. Such gaps should be acknowledged and discussed collectively, and changes to the document should be made accordingly in effort to help keep the theatre running smoothly and safely.
NAME (PRINT)
TITLE
SIGNATURE
DATE May 2014 November 2014 May 2015 November 2015 May 2016 November 2016 May 2017 November 2017 May 2018 November 2018 May 2019 November 2019 May 2020 November 2020 May 2021 November 2021 May 2022 November 2022 May 2023 November 2023 May 2024 November 2024 May 2025 November 2025 May 2026 November 2026 May 2027 November 2027 May 2028
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Purpose and Objectives The purpose of this plan is to help maintain a controlled, warming environment for theatregoers. We want to ensure that everyone is safe and protected when watching, participating, or volunteering for one of our productions. This plan could help us with any sort of injury that could happen on the property. This is merely a starting point to help get everything organized and help us prepare for a crisis if one were ever to occur. We have outlined the following objectives when confronted with a potential or active crisis situation: 1. To maintain a crisis free environment. 2. To make sure all communications are accurate and that nothing is speculated or guessed. 3. To maintain our reputation and be looked at as a theatre company that cares about its customers, employees, volunteers, and families. 4. To preserve the safety, trust, and well being of all key publics. 5. To have an honest and open communication system. 6. To converse with the media to ensure that we keep the community updated. 7. To handle incidents in a quick, efficient manner. 8. To return to our daily functions as swiftly as possible.
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List of Key Publics The following is a list of key publics. Many of these people may require notification during a crisis situation and some may not. Depending on the circumstances, some of the publics need to be contacted sooner than others. • • • • • • • • • • • • • • •
Board Members Employees Clients Media Volunteers Investors Suppliers Vendors Financial partners Management Leaders among the community Government Officials Legal Representation Local TV News Personnel Local Radio News Personnel
List of Emergency Personnel • • • • •
Chicago Police Department: (312) 744-5000 Chicago Fire Department: (312) 745-3705 Northwestern Memorial Hospital: (312) 926-2000 Health Department: (312) 814-2793 G&E Utilities: (312) 697-3999
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Crisis Team The crisis team is a vital component of the organization’s well being in the state of a crisis or emergency. 1. Joan Clifford – President (555-555-5555, email@email.com) • Spokesperson !
Back up Spokespersons • Willa Taylor – Director of Education & Community Engagement (555-555-5555, email@email.com) • Teresa M. Rende – Education & Community Engagement Coordinator (555-555-5555, email@email.com)
2. Lori Kleinerman – Marketing & PR Director (555-555-5555, email@email.com) • Notifies the crisis team. • Develops key messages. • Works with the spokesperson and media. • Organizes a press conference. • Work on the development of messaging as information is obtained. • Helps with recovery. 3. Jodi J. Brown – Human Resources/Business Office Manager (555-555-5555, email@email.com) • Provide viewpoint of human resources in case an employee is affected or involved. 4. Madeline Wolfe – New Media Assistant (555-555-5555, email@email.com) • Assists in message development and strategy and online technology. 5. Jay Corsi – Director of Advertising & Sales (555-555-5555, email@email.com) • Provide insight of accounting and finance in case crisis has to do with donations. 6. Dorlisa Martin – Director of Development (555-555-5555, email@email.com) • Assists in message development. • Provides perspective of finance issues. 7. Rodrigo Garcia & Adam Kaufman – Facilities Technicians (555-555-5555, email@email.com) • Helps setting up conference room with telephones and any other equipment that would be deemed necessary.
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Media Spokesperson After the identification of a crisis, Lori Kleinerman, the Marketing and PR director, will identify the suitable spokesperson. • Spokesperson !
Joan Clifford – President (555-555-5555, email@email.com)
• Back up Spokespersons !
Willa Taylor – Director of Education & Community Engagement (555-555-5555, email@email.com)
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Teresa M. Rende – Education & Community Engagement Coordinator (555-555-5555, email@email.com)
All employees and volunteers must be notified about the crisis and the key messages just to ensure that the messages and key points are addressed if the media contacts somebody else. We will encourage the several questioning publics to consult our website for the most recent and accurate content.
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Interview Tips for Spokesperson 1. Tell the truth. No exceptions. 2. Don’t speculate. The effects of the spokesperson not telling the whole truth will ultimately result in the public feeling uncomfortable with him/her and will sway people to distrust our organization. 3. Listen to the entire questions before answering. This will assure you that he/she seems compassionate and concerned about the crisis. If he/she answers as the question is being asked, he/she will be viewed as rushed and uncaring. 4. Be calm. This will help the spokesperson seem kind and approachable. It will also allow him/her to be more responsive and aware of the questions being asked. 5. Be accessible and pleasant. If this is done, the spokesperson will be looked at as a caring person of the organization; this will ultimately help the image of the Goodman Theatre. 6. Use everyday language. This will help other people relate to the spokesperson and understand what he/she is saying. It will allow the public to feel comfortable with the spokesperson. 7. Look the reporter in the eye. This will help show that he/she is telling the truth. Doing the opposite of this will ultimately seem like he/she is speculating, which will result in the public feeling unsure and unhappy about the Goodman Theatre. 8. Avoid saying, “No Comment.” If the spokesperson does not know the answer, encourage them to say so, and refer back to the key messages. If he/she says, “No Comment,” it looks as though he/she is hiding something and concealing the truth. 9. Wear appropriate, professional clothing with solid pattern and use resources given. Wear clothing that does not wash the spokesperson out. Make sure the clothes look good on camera. Wear makeup (even men) because it helps your presentation on camera. 8
Trick Questions Some reporters may want to sway your spokesperson into saying something that could make the organization look bad or even make the story resurface onto the front page (if answered incorrectly). These questions are asked to deceive the spokesperson and make them feel nervous so that they speculate or “spill their guts.” Here are different types of trick questions: 1. Leading Questions. These are implying that the reporter already has the answer and just needs the spokesperson to verify it. DO NOT AGREE JUST TO AGREE. If the reporter is wrong, simply and kindly correct him/her. • For example: “You agree that the organization could have done more to avoid this tragedy, right?” 2. Loaded Questions. These types of questions are used to get an emotional response from the spokesperson. These are more common from television reporters because the emotional response tends to make for a better video to put in the broadcasting news. • For example: “Isn’t it true that you knew the spotlights located above the performers were loose and unstable and refused to do anything about it to ensure the safety of the performers?” ! In the incident of a loaded question, the spokesperson needs to rephrase it and answer his/her own question. For example: “Do you mean, ‘Were we aware of the loose and unstable spotlights?’ No, we were not.” 3. Know-It-All Questions. These are questions used for your spokesperson to confirm an already formed viewpoint. They use questions like this against the spokesperson to give them only what they don’t have, which is typically referred to as “the dirt.” They may want him/her to speculate and spill his/her guts, which can make the public view the organization as a corrupt, dishonest organization. • For example: “We have the story. We just need a few wrap-up facts from you.” 4. Chummy Questions. These are questions in which the reporter is pretending to be a good friend or buddy. They may act as though something is off the record. To be on the safe side, remember that nothing is off the record and that everything could be used as a quote. • For example: “So, friend, off the record, how do you really feel about this scenario?” 5. Jargonistic Questions. These are questions in which technical, professional, and often confusing language is used. In response to the question, use everyday language and even rephrase the question to help the viewers and listeners understand what was being asked. 6. Good-Bye Questions. These are questions at the end of an interview or even after the camera or tape recorder is turned off. • For example: “By the way…” or “Now that we are off the air…” 9
Equipment and Supplies For the Crisis Control Room
The following is a suggested list of emergency equipment and supplies in the event of a crisis. It may be edited and revised as needed. • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Battery Powered Flashlights Battery Powered TVs and Radios Bulletin Boards Camera Chairs Chalk Boards Computers (or Manual Typewriters) Copying Machines Crisis Plan Desks Extension Cords Film First Aid Kits Flip Charts Food and Beverages Media Directories Megaphone Mult Box Pens and Pencils Phones Police Radio Power Packs Press Kits Printers Street Highway Maps Telephone Directories TVs Walkie Talkies
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Pre-gathered Information Key Messages 1. Goodman Theatre does everything it can to protect and ensure the safety of its employees, volunteers, and clients. 2. Goodman Theatre can be trusted to tell the truth and relay information to the public as soon as the information becomes available. 3. Goodman Theatre is committed to helping the internal and external publics whenever necessary.
Holding Statement Here is a sample of what should be put in the holding statement on the blog and social media after a crisis occurs:
• We are shocked and saddened by the injury/loss of life/damage caused and are doing everything we can to help the victim(s). Our thoughts are with him/her/them and his/her/their family(ies). • We have launched our own internal investigation while also cooperating fully with authorities. • Here is what we know so far… • We conduct safety procedures that are required. We try to do anything we can to make sure that we fulfill safety regulations and guidelines to reduce the chances of accidents to anyone on our property.
Mission Statement “Goodman Theatre, Chicago’s oldest and largest notfor-profit theater, has won international renown for the quality of productions, the depth and diversity of artistic leadership, and the excellence of its many community and educational programs. Under the guidance of Artistic Director Robert Falls and Executive Director Roche Schulfer, the Goodman is committed to producing both classic and contemporary works, giving full voice to a wide range of artists and visions. Central to that mission is the Goodman Artistic Collective, a diverse group of outstanding theater artists whose distinctive visions have given the Goodman an artistic identity of uncommon richness and variety. By dedicating itself to three guiding principles—quality, diversity and community—Goodman Theatre seeks to be the premier cultural organization in Chicago, providing productions and programs that make an essential contribution to the quality of life in our city.” - Taken from the Goodman Theatre’s Website 11
Annual Reports and Financial Statements Annual Reports and Financial Statements can be found online. (http://www.goodmantheatre.org/about/annual-reports-financial-statements/)
Fill in the Blanks News Release The Goodman Theatre in Chicago experienced the unfortunate occurrence of an injury. Today at (TIME), (STATE WHAT HAPPENED.) (INCLUDE WHO, WHAT, WHERE, WHEN, WHY, AND HOW.) (INCLUDED QUOTE) (MORE INFORMATION ABOUT THE INCIDENT HERE) (POSSIBLY ANOTHER QUOTE) We are currently dedicating our full resources into investigating what happened. Further detailed will be released when they are discovered. Please contact us for further information. (LIST MISSION STATEMENT AND CONTACT INFORMATION.)
Maps and Inventory Maps and Inventory are shown on the following pages. These documents can also be found online. (http://www.goodmantheatre.org/about/technical-information/)
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ALBERT IVAR GOODMAN THEATRE
1/19/12
LIGHTING EQUIPMENT INVENTORY Qty.
Type
Manufacture/Model
Wattage
Lamp
Ellipsoidals: 320 Source Four Bodies available with the following assortment of lens tubes: 575w HPL 20
10’
ETC Source Four #410
20
14’
ETC Source Four #414
120
19’
ETC Source Four #419
120
26’
ETC Source Four #426
90
36’
ETC Source Four #436
24
50’
ETC Source Four #450
6
70’
ETC Source Four #470
2
90’
ETC Source Four #490
In addition to above: 6
5’
ETC Source Four #405 (Double Clutch)
575w
HPL
Fresnels: 6
5kw, 10”
Arri #531-501
5000w
DPY
12
2kw, 8”
Colortran #213-525
2000w
BVW
24
1kw, 6”
Colortran #213-515
1000w
BTR
12
6”
Altman #65
750w
BTN
90
PAR 64
Altman
1000w
PAR 64
24
S4 PAR
ETC Source Four PAR EA
PARS:
13
575w
HPL
Strips/ Cyc: 18
Mini-Strip
L&E #65-60, 6’-0”, 3 cir. 30 lamp (75w MR-16)
750w
EYC
12
Cyc
L&E Broad Cyc #65-71/3, 3 cell
1000w
FHM
12
Grd. Row
Strand Orion Ground Row, 3 cell
1000w
FHM
6
PAR 56
Newth 8’-0”, 3 cir., 12 lamp(300w)
1200w
PAR56 MFL
Automated and Color Scrollers: 4 – City Theatrical AutoYokes, 2-19’ Source Four, 750w and 2-26’ Source Four, 750w w/ AutoFocus, AutoIris, Wybron CXI scrollers. (Dedicated) Require 8 channels (10 if using CXI scroller), consecutively numbered (to place on Obsession II encoders): 1) Lamp 2) Pan Coarse 3) Pan Fine 4) Tilt Coarse 5) Tilt Fine 6) Iris 7) Focus 8) Control 9) CXI gel string 1 (front) 10) CXI gel string 2 (back) 2 – City Theatrical AutoYokes, Source Four, 750w (Note: Without AutoFocus feature – can use 10’, 14’, 19’,26’,36’, 50’ lens) w/ AutoIris, 4” CXI Scrollers (for 19’, 26’, 36’, 50’) 24 – Wybron 4” CXI color scrollers for Source Four Require 2 channels: Mix Mode: Index Mode: 1) Gel String 1 (front) 1) Both gel strings (preset color mixes) 2) Gel String 2 (back) 2) Gel String time-to-destination 6 – Wybron 4” CXI - IT color scrollers for Source Four Require 2 channels (same as above) (PLEASE NOTE: These DO NOT WORK ON SAME POWER SUPPLIES AS OTHER (OLDER) CXI (CAN NOT BE MIXED and MATCHED) 6 – Wybron 12” CXI color scrollers for Arri 5kw Fresnels Require 2 channels (same as above)
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Control: ETC EOS 4K (v.1.9.8) ETC ION 3000 for back-up DMX distributed via network (ETC Net3) RFR, Remote video w/ keyboard, mouse ETC Unison control system for Houselights and Worklights (Note: Houselights controlled through EOS console for shows) Dimmers: ETC Sensor Dimmers 492 – 2.4kw 48 – 2.4kw ETC Sensor Touring Rack 9 – 6.0kw 549
(See Circuit Distribution page)
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Albert Sound Inventory Control: Matrix3 Meyer Sound - Matrix3 Audio Show Control System • LCS CueStation 4.5 • 2 – LX-300 frames (16 Mic/Line In, 24 Analog out and 24 tracks of Wild Tracks playback) • 1 – LCS RIF-108 CueMixer remote control (8 motorized fader pack)
Mixing: •
1 – Yamaha M7CL - 48 channel console
Playback: •
Matrix3 o Wild Tracks (13 track hours, 16-track asynchronous playback). Each track behaves like an independent playback device; tracks can be played individually, or in arbitrary groups of any number up to the full 24.
•
2 – Denon DN-C680 CD players (remotely controlled by LCS system)
Permanent Array Loudspeakers: • • • • • •
10 – Meyer UPA-1P (22.4" H x 14.5" W x 14.5" D) via Galileo 616 2 – Meyer USW-1P (21.5" H x 31.0" W x 21.3" D) 4 – Meyer UPM-1P (3rd catwalk over balcony) via Galileo 616 12 – EV S40 (stage lip front fill) 5 - EAW JF80 (under balcony fill) Rear of House – 6 Macphearson IS-12 via BSS 366 Omni Drive
Equalization/Delay: • •
1 – Meyer Galileo 616 (delay and EQ for permanent array) 2 – Rane AD-22 (delays for subs)
On Stage Portable Loudspeakers: •
2 – Meyer UPA-1P
Effects: • • •
2 – Lexicon MPX-1 (remotely controlled by LCS system) 4 – dbx 903 compressor/limiter 2 – dbx 905 Parametric EQ
Amplifiers: •
16 – Channels of patchable amplification for portable speakers
Note: LCS can provide EQ, delay and dynamics per input and output (16 in, 24 out). Last update: 2/6/12
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1/19/12
OWEN BRUNER GOODMAN THEATRE LIGHTING EQUIPMENT INVENTORY Qty.
Type
Manufacture/Model
Wattage
Lamp
Ellipsoidals: 230 ETC Source Four Bodies available with the following assortment of lens tubes: 575w HPL 6
10’
ETC Source Four #410
6
14’
ETC Source Four #414
50
19’
ETC Source Four #419
100
26’
ETC Source Four #426
60
36’
ETC Source Four #436
24
50’
ETC Source Four #450
8
3.5
Altman #3.5Q (Have 8-x5, 8-x6, 4-x8, 4-x10 lenses)
500w
EHD
8
Mini-Ellipse
Colortran #213-155 30’-40’-50’
500w
EVR
36
6”
Altman #65Q
750w
BTN
8
8”
Kliegl (old)
2000w
CYX
2
8”
Hub
1000w
BVV
(Other additional Lens Tubes may available from Albert Theatre Inventory, i.e. - whatever is not currently in use)
Fresnels:
PARS: 30
S4 PAR ETC Source Four PARS 575w (S4 PARS have WFL, MFL, NSP & VNSP lenses available.)
12
PAR 56 Altman PAR 56 (WFL, MFL, NSP lamps available)
19
500w
HPL PAR 56
Strips/ Cyc: 8
Cyc
L&E Broad Cyc #65-71/3, 3 cell
1000w
FHM
10
Grd. Row
Ianiro Pallas, 3 cell
1000w
FHM
6
Mini-Strip
L&E #65-60, 6’-3”, 3 cir. 30 lamp (75w MR-16)
750w
EYC
Color Scrollers: 16 – Wybron 7.5” CXI color scrollers for Source Four PAR or 6” Fresnel (Note: also 10” plates for PAR 64 or 8” Fresnel, 6.25” PLATES for Source Four) 8 – Wybron 7.5” CXI IT color scrollers (Note: Operate from different power supply then CXI) (6.25” PLATES for Source Four) Require 2 channels Mix Mode: 1) Gel String 1 (front) 2) Gel String 2 (back)
Index Mode: 1) Both gel strings (preset color mixes) 2) Gel String time-to-destination
Control: ETC ION 1500 (ETC ION 3000 available as back up) DMX distribution via network (ETC Net3) RFR, Remote video w/ keyboard, mouse ETC Unison (v1.9) control system for Houselights and Worklights (Note: Houselights controlled through ION console for shows) Dimmers: ETC Sensor dimmers 288 – 2.4kw
*
See Circuit distribution page
*
Note: Additional dimmers may be available – please discuss needs
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Owen Sound Equipment Inventory Control: Matrix3 Meyer Sound - Matrix3 Audio Show Control System • LCS CueStation 4.5 • 2 – LX-300 frames (16 Mic/Line In, 24 Analog out and 24 tracks of Wild Tracks playback) • 1 – LCS RIF-108 CueMixer remote control (8 motorized fader pack)
Mixing: •
1 – Yamaha DM1000 (with MY8-AD96 card, 8 additional analog Line Level inputs)
Playback: •
•
LCS o Wild Tracks (13 track hours, 24-track asynchronous playback). Each track behaves like an independent playback device; tracks can be played individually, or in arbitrary groups of any number up to the full 24. HD playback does not require any of the analog inputs. It provides an additional 24 channels of internal digital playback. 2 – Denon DN-C680 CD players (remotely controlled by LCS system)
Loudspeakers: • • • •
6 - Bag End TA-12jr (23" x 18" x 15") 4 – MacPherson IS12 (31” x 15” x 7.5”) 2 - Bag End TA-15I 4 – Bag End 18” Sub Cabinets
Equalization/Delay: • •
1 – BSS 355 Omni Drive (3 in, 5 out) 1 – Bag End ELF dual integrator (subwoofer system)
Effects: • • •
1 – Lexicon MPX-1 Effects Processor 4 – dbx 903 compressor/limiter 2 – dbx 905 Parametric EQ
Amplifiers: • •
22 – Channels of patchable amplification 1 – Crown MA2400 (subs)
Note: Matrix3 can provide EQ, delay and dynamics per input and output (16 in, 24 out). Last update: Monday, February 6, 2012
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30
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Conclusion It is important to follow regulation and to regularly check everything (lights, fly lines, set pieces, etc.) to see if the theatre is working and running smoothly. It is also important to check the building to see if it is structurally safe; things like the electrical need to be checked to make sure that a fire will not start, and the roof needs to be check to make sure that it is stable (this will help us prevent events similar to what happened at the Apollo Theatre in Londonâ&#x20AC;&#x2122;s West End, which was mentioned in the introduction and shown on the cover). If this is not done, more crises are likely to occur. The main way to notice a crisis coming is to recognize prodromes and act on them. It is important to learn from other crises that have occurred for other theatre companies. This is an imperative way to maintain the safe environment that the Goodman Theatre already has. Safety is the utmost concern at the Goodman Theatre. We want to make sure that everyone is in a harmless area when they come to perform, volunteer, or watch the show. We care about everyone involved in the show, and that is including the audience. We want to make sure that every show is energetic, enjoyable, and memorable; the only way to do that is for everyone to feel safe. ! !
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