DistantDonkey987
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Why does every director treat the fly system like a glorified curtain rod?
I’m at my wit's end with the constant “just trust the rigging crew” mantra that seems to dominate every rehearsal I’m in.
- We spend hours perfecting the blocking for a scene that hinges on a precise fly‑in at beat three, yet the DP (director of production) treats the fly system as an afterthought, like it’s just a “big curtain”.
- The prompt book notes a 12‑second descent from the batten, but the crew gets a vague “slowly” and we end up with a jarring drop that shatters the rhythm of the iambic pentameter in the monologue.
- When I raise the issue, the response is always “the actors will adjust”, as if the actors can magically compensate for a mis‑timed lift without breaking the illusion.
It feels like a systemic disrespect for the technical side of theatre. The fly system isn’t a prop; it’s a narrative device. When it fails, the audience sees the seams of the production, and the whole emotional arc collapses.
I need validation that I’m not being overly pedantic. Should I keep pushing for precise cues, or just accept the chaos and hope the audience never notices?
TL;DR: Directors treating the fly system as a decorative element is ruining the integrity of the performance. Am I the only one who’s fed up?