This is probably the oldest, and simplest, style of stage rigging technology.  This label for overhead rigging generally includes:

  • spotline rigging (one or two lines placed temporarily to raise and lower or otherwise manipulate a single scenic piece)
  • 3 or 5 line linesets
  • head blocks (with multiple sheaves) and loft blocks
  • rope used as the lifting material
  • one or more pinrails

Flipping this list around, an essential piece of this technology is the pinrail.  On a sailing ship, which is the source of much of this technology, this would be either the fife rail (around the base of the mast) or the pin rails at the bulwarks.  In the theatre, this is either a timber or pipe, typically with holes punched every 12-18 inches for the belaying pins.  Traditionally, the belaying pins are removable for the simple reason that you can release a line very quickly by simply pulling the pin out (preferably while holding the rope!).  Modern pin rails are sometimes fabricated with pins welded into place.  Like so much theatre technology, pin rails have not disappeared with the advent of newer systems; many new theatres are still built with this device.

The rope, on the other hand, has changed.  Natural fiber (hemp or manila) has been nearly universally replaced with synthetics.  The simple reasons are strength and longevity.  Natural fibers are sensitive to moisture and will deteriorate over time.  This is not an issue with synthetic fibers.  There are trade-offs, however.  The synthetic fibers can be more slippery and can me more costly.

Like many things, there are advantages and disadvantages to this style of rigging.  Some advantages:

  • Flexible–especially in a stage with a gridiron, setting a spot block and running a spot line is a very quick, simple process.
  • Nearly silent–if the equipment is in good repair, the only noise from a rope system is the rope whispering over the blocks.
  • Trimmable–it is very simple to adjust for trim (level) across any given lineset.
  • It is possible to add counterweight, with either a Sunday or trim clamp.

There are also some drawbacks:

  • It takes a very high level of skill to set up and use a rope system.
  • Much of the time, the linesets are unbalanced.  This is an inherently unsafe scenario and has to be handled thoughtfully and with caution.
  • It is very easy for a lineset to get out of trim (level).

The type of facility you would typically see a full-blown rope system would be in a smaller facility that most frequently utilizes painted fabric scenery–essentially, the average theatre from the 1930′s and earlier.

Spot line rigging, on the other hand, is common in many theatres and most especially in those with a gridiron, as the gridiron makes it very easy to rig.  This includes theatres currently in various stages of design or construction.

A technician working with a rope rigging system needs:

  • to be able to estimate weights
  • to be able to handle the amount of weight hanging on the other end of the rope
  • a basic knowledge of knots

Like any rigging system, a rope rigging system should be regularly inspected, including having a periodic professional review (we recommend annually with all rigging systems).  The other major maintenance items are keeping the lines coiled and neat–off the floor, away from dirt–checking the condition of the rope and ensuring all knots are securely tied.

This is the kind of rigging system usually visible in movies showing a theatre.  It is far more “theatrical” and interesting visually than counterweight sets or winched sets–in the case of the last, there might not be anything to look at except the controller!  Watch for sandbags and coils of rope on the screen.