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46

Stage Management: Plays & Musicals / Gunmaster -- any experience?

« on: Jun 24, 2004, 01:03 am »

one last thing--as a courtesy to your patrons, be sure to post a sign at the lobby entrance that states:  "Multiple gunshots are fired in this performance."

47

Stage Management: Plays & Musicals / Gunmaster -- any experience?

« on: Jun 24, 2004, 12:54 am »

In a nutshell:  the Weapons Master is a highly specialized props/stage combat person.  He is the ONLY person who ever touches a firearm other than the designated actor(s).  He is responsible for instructing all actors on safety and protocol for gun usage on stage.  He is directly responsible for instructing the designated actor in the function and safe operation of the firearm, as well as the dangers inherent in its use.  Before a rehearsal or performance, the Weapons Master retrieves the weapon (and blank ammunition) from its locked storage, inspects it, loads it, gives it to the designated actor, and supervises as the actor inspects the weapon.  After the scene or show (whichever is appropriate), the Weapons master receives the discharged weapon from the actor, unloads it, inspects it, cleans it, and returns it to its locked storage.  

Hope all this helps.  As the SM, it is your responsibility to know all the safety stuff as well (even though you may never have occasion to touch the weapon), and to make sure that protocol is followed by the company members who will all want to "play" witht he guns.  Best wishes and BE SAFE!

48

Stage Management: Plays & Musicals / Gunmaster -- any experience?

« on: Jun 24, 2004, 12:39 am »

source: <www.weaponsofchoicetheatrical.com>

ON THE USE OF PROP FIREARMS:
things every actor should know

You will soon be given responsibility for a prop pistol or rifle for use in rehearsal and performance of a theatrical production. Some firearms can actually fire blanks and some are purely for show but may have working parts which can allow an actor to simulate the real action of the weapon. .

Actors try to mimic the moves that they see in the movies, but forget that guns constantly break down while on a film set. Film studios can afford to have several duplicates and a gunsmith on stand-by – theatres cannot.

While by all means we want the actor to feel comfortable working with the prop on stage, these cautionary points are prudent to keep in mind today and until the end of the run.

¨ First and foremost - Never point it at anyone at any time. I cannot more strongly stress the importance of developing sound firearms safety practice among this nation’s actors. Always treat every prop gun as though it were a true and loaded gun, and if necessary to give the illusion of pointing the weapon, aim upstage of the other actor. The audience will never know the difference, and perhaps slowly we can all work together to prevent more senseless tragedies from occurring. This can only start with each and every person who sees any weapon, real or fake, to simply assume that it is loaded, white-hot, and ready to kill.

¨ Second - Do not "dry-fire", which is pulling the trigger when there is no blank in the chamber. Most guns break in rehearsal from actors dry-firing (playing) backstage. No gun, prop or real, is designed to be handled in this fashion. If it is necessary to the play that the gun dry-fire, then by all means rehearse as needed. But otherwise, why risk costly damage?

¨ Third - Don’t take it out of the theatre. Police respond with extreme seriousness to any possible incident involving firearms, and merely displaying a replica outside of a theatre is a felony in most states. Any use outside of a theatre (including any film-work) requires prior notification and consent of the local police.

¨ Fourth - The prop is not part of your costume. It is to be picked up from the stage manager just before your entrance, and returned immediately on your exit.

¨ Fifth - Perform a "chamber-check" with every hand-off. The person handing over the weapon to the actor opens the gun to show that there is no bullet or blank in the chamber or magazine, or some other proof that the prop is harmless. When the actor returns the gun, the chamber check is repeated.

¨ Sixth - Don’t drop it. Real or replica, these are delicate props, and simply can’t survive aggressive action. If the gun must be tossed or dropped, we suggest that you purchase several for the run of the show, for they will break. For the same reason, don’t "twirl" the gun or force the working parts.

49

Stage Management: Plays & Musicals / Gunmaster -- any experience?

« on: Jun 24, 2004, 12:35 am »

How Do They Do That: Stage Weapons Part II

Using Guns

Blade weapons are dangerous enough, but prop firearms require an even higher level of scrutiny. When professional weapons masters, like Sean McArdle of PropPeople.com, start looking for stage weapons, they must decide, with the director, whether the weapon will be fired, loaded on stage and/or fired, or just brandished about.

Those decisions will influence what kind of weapons they acquire for the show. Weapons distributors rent or sell non-firing weapon replicas, blank-firing replicas, and real guns converted to using blanks only. Prop directors need to be aware of the regulations for buying, shipping, and transporting firearms, including prop weapons and replicas.

Prop guns that fire blanks have blocked barrels. Weapons masters should examine the barrel and make sure that the blocked material will not come lose when fired. The chambers in the cylinder should be free of metal burrs and should be filed out if necessary. Test fire the weapon with the proper blank load (full to half loads can be extremely loud in a small theater). Test blank loads every time, especially if you buy from a different company; a quarter load from some manufacturers can be as loud as a half load.

McArdle urges weapons masters to test the weapon by firing it at a piece of suspended newsprint. Fire the blanks from four feet, then at point-blank range. The movement of the paper and the amount of powder left on the newsprint indicate the strength of the blank. Fire the weapon again from each side, both at four feet and then at point-blank range. This identifies the danger zone around that particular weapon, loaded with that size blank.

The weapons master and director can then determine where to place actors and crew around the weapon. McArdle suggests that this test should be done in front of the actors and crew; its visual lessons will make a bigger impression than anything that is said. If a weapon is fired off stage, the same safety precautions must be adhered to.

Finally, the prop director and weapons master should be aware of the federal, state, and local laws regarding transportation, storage, and use of all prop weapons. Comply with all manufacturer’s warnings, limitations, storage suggestions, and uses. Each weapon should be inspected before and after use, cleaned every time, and inventoried whenever the weapons locker is opened.

Knives, swords, and guns help make a production come alive. Being careful with these weapons will ensure the safety of both the actors and the audience members.



By Janie Franz