Cool Event Venues Around the World

Here are several unique outdoor sites and indoor venues that I have found in my travels. I will update the video as I do more travelling. Many of these locations can be used for actual special events.

Production War Story of the Month: Some Clients are Never Happy

Initial discussions between a potential client and our company indicated that the client’s event would be a very energetic, high-end extravaganza for about 2000 guests in a conference center. The client wanted an entertainment show with cirque acts and unusual, creative décor. Every indication was given that the client was going to work with us. Several days were spent preparing an extensive creative proposal. Upon presentation to him, the client indicated that he had also received two other proposals from competitors that were lower in price but not as creative, and he asked us to rework the numbers. This entailed another day of dedicated time.

A second meeting with the client took place with the revised proposal and the client again said that the competitors had beaten the price but that he really wanted to work with our company. At that point, we called his bluff and stated that we would do no more work without being paid for creative and that the event now had a minimum fee for any work done. We walked out of the meeting and never heard from the client again, but did hear that all the other companies had done the same thing and that the client ended up producing his own show which was much smaller than originally anticipated.

What was the lesson learned? It was one that every independent business person eventually figures out. There comes a time when it is no longer feasible to work on a project, either from a financial point of view or from a “gut feeling” about the ethics of a client.

They Should Know Better

Last weekend I attended a three-day conference. Now this is a conference that has been going on regularly for quite a number of years. I will not say who it was for or where it was held. Suffice it to say there were little things that irked me because they were things that should have been corrected long ago.

Here's what I mean. First, there were two keynote speeches each day in a packed ballroom of 500 people. They used the house PA, which as would be expected, was completely inadequate. It took about 5 minutes to even get anyone's attention. A simple rented PA with properly placed speakers would have solved this problem.

Second, they used house lighting. Since the crowd was particularly chatty, this was another irritating thing that detracted from the excellent speeches. The house lights remained on full and nothing was focused on the presenters, so they were literally in shadow the complete time. How easy it would have been to rent a followspot and operator and turn the house lights down for the keynotes or at the very least, focused an ellipsoidal light on the lectern.

Third, there was no free coffee at breaks in the morning and afternoon sessions. To me this was just plain cheap.

Lastly - and this is really disgusting - at the final luncheon buffet which was placed in the kitchen hallway, the entire area reeked of body odour. This was a conference hotel with supposedly professional staff, but I know that they were the source. Absolutely unforgivable. I will probably not return because of it. In fact, this one thing would put me off ever recommending that hotel to anyone.

To be fair, the conference content was good with professional and knowledge-packed sessions by well-known presenters. However, the devil is always in the details and I have written before about creature comforts. They were just not there and the organizers should have known better. Again, that would be my message. Don't cheap out!!

Sacred Space and Special Events

Back in March I discussed the concept of ritual and how it related to special events. Noted scholar Catherine Bell whom I referred to places a lot of importance on symbolism and tells us that places and locations are in themselves sacred symbols. In this post, I want to put forward the theory that in special events we are actually working in our own form of sacred spaces and that how we treat those spaces is not a lot different from other sacred spaces such as churches. Our inherent human propensity to treat such sacred spaces with a certain reverence, either religious or otherwise, will always be with us. Let's look at some background theory.

Religious scholar Mircea Eliade was the first to propose that, for what he called religious people, the world is divided into two kinds of space, the sacred and the profane. Profane space is the ordinary space in which we live and go about our daily activities free of all reference to a larger reality. Sacred space is experienced differently. When one enters a sacred space, he or she acts in accordance with the environment (e.g. in a church or temple one might bow or remove a hat or speak in whispers). Eliade claimed that before modern times, “archaic people” established towns, built sanctuaries, and organized space and time with reference to the sacred.[i] [ii] In those ancient times, the choice of location for a sacred space might have been simply due to a fortuitous sign (e.g. hilltops because they were closer to the gods) or it might have been planned as a result of some specific ritual. Today, as Bell points out, thinking is more along the lines that a specific space or location is made sacred by the ritual-like activities that take place within it. Thus, like other symbols, they are differentiated from profane spaces “by means of distinctive acts and responses and the way they evoke experiences of a greater, higher, or more universalized reality - the group, the nation, humankind, the power of God, or the balance of the cosmos.”[iii]

Today, sacred space may be a church, but it also may be a historic site, a natural geographic site (e.g. Niagara Falls or even a cave), or a built environment such as a stadium, city streets, or a conference center. For example, throughout history, numerous sites have hosted special events (mega-events), from the ceremonial plazas and temples of Mesoamerica and Egypt to the Nazi parade grounds of Nuremberg and the stadia of the modern Olympics. As Ellie Carter and architect Thomas Barrie note, “the physical journey made by the individual symbolically represents their mental journey through the act of the ceremony” ------ “Barrie goes on to identify a basic three-part structure to ritual spaces: a marked origin, a path, and a sacred center (or destination) at the end of the path.”[iv] [v] Certainly this is true for the participants in a spectacle. Unfortunately, these analyses do not take into account the fact of the three different key players in celebration and their respective roles in a spectacle. They all need apportioned space of their own within the overall ritual or sacred space of a temple or larger geographic or architectural location. In my personal experience of producing events and of visiting the sites of historical spectacles, I have noticed that all these sacred spaces have common characteristics. These include:

· Well-defined physical boundaries. These can be actual walls, fences, landscape and natural features such as trees or waterways, buildings on the sides of streets or plazas, or humans who have been purposely placed in a guardian-type position.
· One or more formal entrances and exits. Virtually all sacred spaces have at least one main entrance (i.e. the “origin” identified by Barrie) and often the same entrance is used as an exit. This is usually obvious through physical features (e.g. size, color, design) or strategic positioning along a boundary of the space.
· A purposeful orientation. This is usually obvious with ancient sites, especially religious ones, as explained by Eliade. They were often oriented according to compass directions, the path of the sun, astronomical alignments or, as some have speculated, along lines of magnetic energy (e.g. Ley Lines), although this latter is mostly considered to be doubtful science. Today’s orientations are more concerned with accessibility and the presentation of a building’s strongest architectural features.
· Allowance for a processional route. Almost all ancient spectacles incorporated a procession as a ritual component of the event (i.e. the “path” identified by Barrie). For some, the procession was the spectacle. Even today, processions form part of many spectacles and smaller events (e.g. wedding ceremonies, Olympic parade of athletes, football “bowl” games, lantern festivals, Mardi Gras and Carnivals all over the world, etc). Permanent indoor event spaces intentionally build for these events (e.g. wide church aisles), outdoor spectacles use closed off city streets or parks, and temporary indoor spaces design specific routes (e.g. wide entranceways for corporate meetings and conferences).
· A purposefully designed ceremonial space. Most sacred spaces contain smaller but more significant inner sanctums or spaces in which the essential core ritual activities take place (i.e. the “destination” identified by Barrie). The most obvious of course is the altar in a church. Other examples include the classic Egyptian temple layout that incorporated an inner sanctuary only accessible to the chief priests and pharaohs, certain levels on specific Mayan pyramids or other buildings within any given city, the reviewing stand on a parade route, a stage at a concert or large entertainment event in modern times (a stage at a corporate or sales meeting would also qualify), or the playing surface in a modern sports event. Essentially, whether the event is religious or secular, this space is almost always present. The ceremonial space may be at the same level as the remainder of the sacred space, it may be lower (e.g. sporting events), or as in most cases, it may be higher (e.g. pyramids, altars, stages), denoting the important stature of those who use it.
· Performance space. This refers to the provision of space set aside for performances other than by the key ritual participants such as priests, kings, or spectators. In other words, it is space for dancers, musicians, theatrical shows with actors, comedians, and such. For example, in churches performance space is often designed into the architecture to accommodate an organ, choir, or musical group, and nowadays, even full theatrical productions. In other sacred spaces such as conference centers that have been set up for meetings or ceremonies, special staging is often utilized that is set apart from a main stage used for the meeting and key speeches, or the performance space may be purposely set up in and amongst spectators. In the case of a large outdoor procession, this performance space shares its location with the ceremonial space (e.g. the street or processional route), as it sometimes does in the case of a stage.
· Spectator space. All spectacles incorporate a spectator area since they are the key players for whom the event’s message is intended. In ancient societies, this might have been the outer courtyard in Egyptian temples, a central plaza in Mayan or Aztec cities, and city streets in China and Angkor as examples. In modern events, it may be specifically designed or temporarily placed audience seating in theaters, churches, stadia, or other indoor secular buildings, and large open areas for outdoor events. This latter might include everything from airport tarmacs or hangars (e.g. the Paris Air Show) to grassy fields (e.g. various festivals).
· Preparation area. Typically, most spectacles are so large and involve so many complex logistics that they require separate areas set aside for preparations by participants. Sometimes these areas are within the sacred space, sometimes they are not. For example, Roman triumphal processions prepared in the area known as the Campus Martius which was totally separated from the city core where the actual spectacle took place. However, preparations for the Egyptian Opet Festival in Thebes occurred mainly within the large temple complex of Karnak, itself the sacred space. Today’s modern events might use tents as preparation areas for performers or technical staff within an outdoor site or other rooms close to or part of a sacred space indoors (e.g. theater, conference room, arena).

Although most of the events in which I participated were not of sufficient size to be considered spectacles, they were nonetheless important forms of celebration for the key players. Therefore, to put in perspective the range of possibilities for sacred space in special events, these included large ferry boats, parks and gardens, farmers’ fields, hockey arenas, football stadia, conference centers, rodeo grounds, historic sites, gymnasia, hotel ballrooms, golf courses, churches, theaters, mountaintop ski chalets, movie studios, offices, army bases, casinos, stores and malls, restaurants, and many more too numerous to mention.

So the next time you start to plan for an event, consider that the space you are using is a sacred one and that by the very act of your planning, you are really just putting together a ritual for use in that space. No different from what our ancestors did thousands of years ago.

[i] Greeley, A.M. (1995). Sociology and Religion: A Collection of Readings. New York: Harper Collins College Publishers. pp. 94-105.
[ii] Jones, C.B. (2007). Introduction to the Study of Religion, Part 2 of 2. Chantilly, VA: The Teaching Company. pp. 112-126.
[iii] Bell, C. (1997). Ritual: Perspectives and Dimensions. NY: Oxford University Press. pp. 138-169.
[iv] Carter, E. (2003). Landscapes for Celebration: An Investigation and Design of Wedding Gardens. Unpublished Master’s thesis. Virginia Polytechnic Institute and State University.
[v] Barrie, T. (1996). Spiritual Path, Sacred Place: Myth, Ritual, and Meaning in Architecture. Boston: Shambhala Publications, Inc.

Audience Participation

One area of special event entertainment that most audiences always like is audience participation. It is one of the most powerful and effective ways to gain audience support and enhance a performer's charisma. It is not, however, only a simple matter of asking the audience “how they are doing.” The more rehearsed and controlled the situation, the more effective it will be. Watch some of the old-time acts like Victor Borge and Danny Kaye to see masters at work.

Participation can take place in the audience (i.e. offstage) or it can take place on the stage. By going into the audience, a performer is in the audience’s territory and had better be well prepared for anything that may happen. Therefore, for this type of situation, all circumstances should be covered. That means that a set routine should be rehearsed (e.g. exact dialogue and participation actions), with escape plans for any eventuality, be it vocal inappropriateness (e.g. audience member swearing at the performer or no reaction at all), or physical abuse (e.g. audience member grabbing or touching the performer inappropriately). Proper technical preparation must be in place as well (e.g. adequate audio and lighting). Just “winging it” when a performer is in the audience makes the performance appear amateurish.

Audience participation onstage brings the audience into the performer’s territory and puts the performer more in control of the situation, although removing some of the intimacy of direct contact with a larger portion of the audience. Onstage participation can take several forms: rehearsed, unrehearsed, controlled, and uncontrolled. Once again, the more rehearsed and controlled, generally the better will be the performance. By rehearsed is meant that the routine is tested and perfected over the course of many performances (including all jokes, questions, and dialogue) so that the outcome is more or less standard, thus defining what may be considered a controlled situation. This type of routine might include anything from a set of questions and answers between performer and audience members (still in their seats), to an entire onstage performance by a group of audience members (e.g. dance number, hypnotism show, victims of a pickpocket, ventriloquist’s dummy). At the other extreme, is the completely unrehearsed and uncontrolled situation. Someone is invited to the stage to sing a song or to be interviewed by the performer. Because the routine has not been rehearsed and never been done before or perhaps tried once successfully (without rehearsal), the performer assumes that it will be successful again. Unfortunately, human nature often turns ordinary people into caricatures once they get on a stage and they suddenly want to take over a microphone or act up for their friends (one of the basic rules of performing is never give the microphone to someone else unless it is rehearsed). This is not a situation that endears a performer to the audience, but rather it makes the performer look even more inexperienced. I once employed a celebrity performer before he became famous who thought it would be a good idea to invite a friendly guest to the stage. The guest was drunk and refused to leave the stage, resulting in our having to find several very burly guests to remove him physically from the stage. It was embarrassing for the performer and undoubtedly became a valuable lesson for him on his road to the top.

In short, audience participation can be the most effective part of an act, but event planners and producers should be aware of the pitfalls and ensure that the performer(s) is in control at all times.