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Thursday, September 21, 2017
Safety at Performing Arts Venues
Wenger | J.R. Clancy: We’re taking a slight detour with this blog to address what’s on the minds of many venue managers, designers and suppliers: The public’s sense of safety in and around performance venues.
Any article like this scares me down to my bones. My actual bones are afraid of being attacked in a theatre or arena. This article, like many, offers some basic safety tips such as “Connect with the local community, especially law enforcement. Have a plan for emergencies and suspicious packages. Conduct staff training. Stay vigilant about “see something, say something”. And yeah, this is all good advice, except for when an active shooter enters your theatre with intent to kill or hurt as many people as possible. I do not have an alternative solution to what is already implemented in many theatres that do not include more guns or violence hired by the theatre. Truly, the idea that my future job could put me in danger just by being in a theatre when a violent incident happens. Nothing can be done about it, and I hate this passivity so much.
This article actually hits pretty home for me. I was in a situation in my old job that involved the presence of an active shooter in the dc/md area. A lot of the shooting was happening at similar locations to that of the DC Sniper, and locations with-in 10 miles had been hit, including malls and a home depot. When we started hearing the news, I realized that our company did not have any sort of emergency procedure for this. Sure we had one for fires and tornadoes, but not an active shooter. That really shook me for weeks after, and the incident did lead to a change, but what if we hadn't been so lucky to pass by unscathed? Especially working at an organization that frequently had children around, I was unprepared for the idea that we had no plan in place. Of course no one likes planning for the worst, but at this current moment in time, we need to be. I grew up in Atlanta remembering stories of a financial trader who snapped and went postal killing his family and coworkers, and the memory of just how easy he was able to attack those unprepared at work haunts me. That happened in 1999, and everytime I pass that building I am reminded of just how possible the unthinkable really is. This isn't a new problem and it has effected people all across the country, and we need to be prepared.
This article to me seems more of statement than anything else. It doesn’t give any details or actual procedures being put into place. The article is then being published, as it seems to me, for the sole purpose of inducing some fear and a sense of security with it. They introduce a few big things such as " The Washington Post" and "see something, say something" but that doesn’t mean anything. The reality is, if someone wants something to happen, it’s going to happen. We cannot, for the most part, prevent things before they happen but stop them only once they have started to occur. If anyone looks up statistics about flight security, there has already been a very highly noticed trend that we keep bolstering up TSA as they do more checks and increase the number of security screenings. However, they have never actually stopped or prevented any threat, yet we keep allowing and encouraging TSA to do more. It is a sense of security but that’s about it. In the meantime, it was also noticed that an increase in sky marshals has helped prevent some instances but even still that was after some action was already taken by the party threatening. The point here is that it is great to have ideas and procedures in place but ultimately if someone wants it to happen, it’s going to happen and an article like this is just giving the public that sense of security. It’s not bad to have that sense of security, it just shouldn't be the focus. I can’t give an alternative to any plan that anyone has right now but security isn’t an easy thing to have, especially now - in our current times and with violence on large scales to be seemingly increasing in frequency and severity.
I opened this article at first not to comment but just to read, but when I learned that the safety that this article was discussing was not rigging safety or something of that sort, I figured a comment was in order. When I hear about safety in the entertainment world I don’t really think about deadly acts, rather deadly accidents. As the article states, 93 years ago we wouldn’t expect the potential threats against concert halls and venues that we might expect now, but even so, this is still new and hard to wrap our heads around. I was kind of caught off guard when I read that the acting secretary of the department of homeland security was speaking at a conference for venue managers, but I now understand that potential terror acts are a big part of safety at venues. The article and the Keynote points are all very informative and I kind of have a new sense of what it takes to run a large space like a concert hall, you have to worry about some pretty big potential safety concerns.
The title of this article is kind of misleading, but all the comments on it made me have to look at what was going on. And I’m glad I did. This article offers some concrete ways to help ensure safety from terrorism at performance venues from people who have a lot of experience and weight behind their words namely the secretary of Homeland Security and a special agent from the Joint Terrorism Task Force. It also had some insight into just why performance venues seem to keep being the targets of violence that I agree with that they want to destroy the freedom that is inherent in the enjoyment of art. When you go to a performance you are there to get away from the world and anything that is worrying and stressing and just take some time to enjoy beauty. And that is exactly where terrorists would want to go to make the biggest impact, but that is exactly what we cannot allow them to destroy. We have to create more beauty, more art because day to day life is already messed up and confusing as it is.
I think that it is really good that safety became the main concern at the IAVM conference. At any time in the world, no matter its political state, we must always make sure we are doing everything we can to keep the public safe in such big event venues. I think the ways in which Elaine Duke suggested for you to keep your event venues safe seem simple enough. I think having a plan and resources like the local police on your side are great ways to be prepared for a potential attack or disaster. I really liked what the article said about Agent Valk. How he said that when you hire good people, they will make the right decisions. I think this can be an important thing to remember for all managers. you can't of course have a hand in everything- especially in a high stress situation like an attack or disaster- so you need to hire people who you trust to make those right decisions.
It seems like the topic of safety has been taking the headlines across the entertainment industry. And to be completely honest I think the industry has a far way to come until it is truly “safe”. There have only been a few instances where I have felt truly unsafe in the theatre but what concerns me more are the stories that you hear from working professionals. One of my personal belief is that people are so stuck in there ways that they neglect to take the time and do something the right way and most of this comes from wanting to save time. In the rigging work especially this is a huge problem. I think that the standard fly system that we use in the theatrical world is absolutely absurd. Please explain me in what world it is a good idea to load hundreds of thousands of pounds over peoples head. That right there is one of the craziest things I have ever heard and I can personally guarantee that at the times are moving away counterweight and will begin to get replaced with automated line sets as breaking systems become more reliable.
I agree that venue safety is, sadly, an area of increasing concern. As theatre professionals, we have to plan for violent situations and do our best.
What I don’t agree with, though, is the assessment of VenueConnect and the assessment of this article that outside terrorism (the focus of Homeland Security) is the primary threat to venue security in this country. One can argue that Homeland Security is responsible for protecting us against domestic terrorists but they have not only failed to name domestic active shooters as terrorists, they have a poor framework for finding those shooters before they act. Domestic terrorists (active shooters of any kind) who are often mentally unstable and have easy access to firearms are a far greater threat. Venues should not only be planning for how to react in an active shooter situation they should be advocating for stronger gun control particularly in response to mental health. Don’t just prepare passively, ADVOCATE FOR PROGRESS.
This article isn’t what I thought it was going to be about. I thought this was going to be about rigging or other job related safety items. This article focuses on safety of the venue itself and its occupants. I remember a time when this wasn’t as much of an issue. There weren’t any metal detectors or the like when I went to baseball games growing up. Most of these issues, at least in the US, seem to have started post 9/11. Of course, there were theater fires and the like, but those were all “internal” threats, and not someone intending to do harm. I can see where this would be a monumental task for a venue manager on any given day, let alone for a special event, like the Oscars. I’m not certain how a lot of this works, but it would seem that one way for venue managers to alleviate some of this burden is to hire an outside security company. That way, the venue manager can focus on other things, and leave that aspect of their job to a person or company who specializes in security.
This article really hits hard on the possibilities of being targeted at something really everyone should feel safe at, a performance. You go to performances to escape from what’s going on in the world or your life at that moment, you shouldn’t have to be afraid of anything, you should be there just to experience what you came to see in the purest, most comfortable setting possible. It is great to see that such care and diligence is being extended to safety measures in the entertainment industry and that everyone, including big companies like J.R. Clancy and Wenger, are actively trying. Awareness is the key to staying and keeping everyone safe and by establishing guidelines and protocols and relationships with local law enforcement, these venue orchestrators are really doing all that they can to keep everyone happy and safe. You don’t see very many targeted attacks on performances, and when you do, despite the initial devastation, they are handled pretty well.
Venue security is sadly something that people have had to put much more consideration towards in recent years. Bag checks and metal detectors outside of theatrical and other performance venues are becoming a norm, and I'm sure security will only get tighter in the coming years. This article didn't seem to specifically address strategies to prepare other than to have plans and connect with local law enforcement. The reality is that if a situation like what happened in Manchester last spring were to happen again most venues would be extremely underprepared and ill equipped to handle it. One thing that I did like about this article was the sentiment that art can't stop being created or consumed because of this issue. We shouldn't let our fear stop us from doing what we love, as that is when the attackers really win. I completely agree with this idea, and I hope that with more venues putting safety measures into place this will be possible.
It's encouraging to know that nothing will stop the arts. If someone threatens to hurt those that want to enjoy the arts, then those venues come up with more safety precautions. I have to admit though that generally when I go to a theater or music concert there is never a moment when they explain what exactly to do during a time of chaos or danger. For me I understood that if something was going on that our animal instinct to flight, and my knowledge of where the exit signs are would be enough to get me out of the danger zone and into safety; however, what if this isn't enough. I think that general set of rules of safety for each theater should be passed and taught, which I believe this article was saying was happening.
This is one of my greatest fears. As a manager and as a patron of the arts, I feel pure terror at the thought of being confronted with an active shooter situation in a theatre or arena. At USITT last year, I was placed as a volunteer on a panel for handling an active shooter situation. It was a huge wake up call on paying extremely close attention and being very well prepared for anything. When it comes down to it, your ability to observe your surroundings and report suspicious behavior is the most important security measure there is. Metal detectors, security checkpoints, and security teams are all very comforting presences, but it wouldn't be unheard of for someone on a mission to make it through these barriers. Constant vigilance.
While I'm not sure I 100% agree with the articles undertones about how terrorists are attempting to make people detach from public art spaces by attacking them, as it seems as though the logic would more likely be that there are a lot of people in a confined space that will likely attract a lot of attention, I think it is really important to be prepared for the worst. While obviously there isn't a ton anyone can do in terms of preparing for a surprise terrorist attack, I think even discussing the fact that it could likely happen anywhere at anytime gets the idea in peoples minds rather than having to deal with a situation of this nature with pure obliviousness. I think the point about training staff is very important as well, because only half of the difficulty of dealing with a terrorist attack comes during the actual event itself. It's important to remember that there are long lasting impacts that will have to be dealt with and thought about afterwards.
Most theatres are very closed spaces which is part of the reason why active shooting creates extreme terror for theatre goers. I agree that theatres need to take cautions very seriously and train its staff and audience in every way possible. Towards the end of the article, the author said “While we can only touch on safety suggestions here, the take-away is that the venue industry must stay vigilant in keeping safety the first priority.” And I agree with Rachel above that this is passive protection not active advocating. We should not only prepare ourselves in case domestic terrorism happens, but also strongly advocate for more gun restrictions. We need to trace the problem back to its source – the easy access to weapons, the failure of government agencies to quickly react, the lack or real condemnation and reflection after every tragedy related to active shooting. We of all people, should protect ourselves and our patrons by pushing for changes, getting louder about gun control, and creating a safer space.
The “what if” seeds in our minds that this article places are ones that we will have to deal with throughout our careers. It is often that people forget that bad things happen to good people everywhere, not just in the places that have a reputation of being unsafe. The possibilities for terror and disaster are very prevalent in a place such as a theatre simply because it is a large gathering. It is a good thing for everyone working in a venue to be aware of because then the crew can brainstorm protocols to put in place and backup plans for times when an emergency could occur, and it is even more important that they implement preventative practices, so they can avoid these situations altogether. I did appreciate how this article did not suggest that our justified concerns should result in an end to the arts, but that they will continue on, and we will adapt to ensuring safety and prevention.
With Terrorism being such a hot button issue that many in American society fear, it is important for all places in which large groups of people gather to prepare for the worst. While I also agree with others who have dissented from the articles opinions on why terrorism/active shooting occurs at performance venues, the article does provide some interesting ideas about maintaining safety at theatre and concert halls. I think that the most important point that is brought up is collaboration with local (and perhaps based on the scale of the venue, state or federal) law enforcement. Perhaps training exercises with police in local venue could help police identify areas of the venue that could become particularly hazardous, as well as prepare police to better respond to a situation should one arise. This goes hand and hand with developing a plan, and this plan should include staff training and emergency exit plans, as well as who calls the police, and methods for insuring that necessary information is relayed to the police. The article neglects to mention that any person can become FEMA certified for Active Shooter Situations, and how this certification might help venue staff be proactive in preventing Active Shooter/Terror activities, as well responding to them. It should also be noted that for the largest entertainment events that have the greatest potential for becoming targets, the DHS already has a protocol for this, a “National Special Security Event”. This classification grants law enforcement agencies greater resources to prepare for these events, and allows certain Federal Agencies to have jurisdiction in place that thy otherwise might not. While this is obviously not a solution for every performance venue, the largest venues can take advantage of these procedures to ensure the safety of the public.
17 comments:
Any article like this scares me down to my bones. My actual bones are afraid of being attacked in a theatre or arena. This article, like many, offers some basic safety tips such as “Connect with the local community, especially law enforcement. Have a plan for emergencies and suspicious packages. Conduct staff training. Stay vigilant about “see something, say something”. And yeah, this is all good advice, except for when an active shooter enters your theatre with intent to kill or hurt as many people as possible. I do not have an alternative solution to what is already implemented in many theatres that do not include more guns or violence hired by the theatre. Truly, the idea that my future job could put me in danger just by being in a theatre when a violent incident happens. Nothing can be done about it, and I hate this passivity so much.
This article actually hits pretty home for me. I was in a situation in my old job that involved the presence of an active shooter in the dc/md area. A lot of the shooting was happening at similar locations to that of the DC Sniper, and locations with-in 10 miles had been hit, including malls and a home depot. When we started hearing the news, I realized that our company did not have any sort of emergency procedure for this. Sure we had one for fires and tornadoes, but not an active shooter. That really shook me for weeks after, and the incident did lead to a change, but what if we hadn't been so lucky to pass by unscathed? Especially working at an organization that frequently had children around, I was unprepared for the idea that we had no plan in place. Of course no one likes planning for the worst, but at this current moment in time, we need to be. I grew up in Atlanta remembering stories of a financial trader who snapped and went postal killing his family and coworkers, and the memory of just how easy he was able to attack those unprepared at work haunts me. That happened in 1999, and everytime I pass that building I am reminded of just how possible the unthinkable really is. This isn't a new problem and it has effected people all across the country, and we need to be prepared.
This article to me seems more of statement than anything else. It doesn’t give any details or actual procedures being put into place. The article is then being published, as it seems to me, for the sole purpose of inducing some fear and a sense of security with it. They introduce a few big things such as " The Washington Post" and "see something, say something" but that doesn’t mean anything. The reality is, if someone wants something to happen, it’s going to happen. We cannot, for the most part, prevent things before they happen but stop them only once they have started to occur. If anyone looks up statistics about flight security, there has already been a very highly noticed trend that we keep bolstering up TSA as they do more checks and increase the number of security screenings. However, they have never actually stopped or prevented any threat, yet we keep allowing and encouraging TSA to do more. It is a sense of security but that’s about it. In the meantime, it was also noticed that an increase in sky marshals has helped prevent some instances but even still that was after some action was already taken by the party threatening. The point here is that it is great to have ideas and procedures in place but ultimately if someone wants it to happen, it’s going to happen and an article like this is just giving the public that sense of security. It’s not bad to have that sense of security, it just shouldn't be the focus. I can’t give an alternative to any plan that anyone has right now but security isn’t an easy thing to have, especially now - in our current times and with violence on large scales to be seemingly increasing in frequency and severity.
I opened this article at first not to comment but just to read, but when I learned that the safety that this article was discussing was not rigging safety or something of that sort, I figured a comment was in order. When I hear about safety in the entertainment world I don’t really think about deadly acts, rather deadly accidents. As the article states, 93 years ago we wouldn’t expect the potential threats against concert halls and venues that we might expect now, but even so, this is still new and hard to wrap our heads around. I was kind of caught off guard when I read that the acting secretary of the department of homeland security was speaking at a conference for venue managers, but I now understand that potential terror acts are a big part of safety at venues. The article and the Keynote points are all very informative and I kind of have a new sense of what it takes to run a large space like a concert hall, you have to worry about some pretty big potential safety concerns.
The title of this article is kind of misleading, but all the comments on it made me have to look at what was going on. And I’m glad I did. This article offers some concrete ways to help ensure safety from terrorism at performance venues from people who have a lot of experience and weight behind their words namely the secretary of Homeland Security and a special agent from the Joint Terrorism Task Force. It also had some insight into just why performance venues seem to keep being the targets of violence that I agree with that they want to destroy the freedom that is inherent in the enjoyment of art. When you go to a performance you are there to get away from the world and anything that is worrying and stressing and just take some time to enjoy beauty. And that is exactly where terrorists would want to go to make the biggest impact, but that is exactly what we cannot allow them to destroy. We have to create more beauty, more art because day to day life is already messed up and confusing as it is.
I think that it is really good that safety became the main concern at the IAVM conference. At any time in the world, no matter its political state, we must always make sure we are doing everything we can to keep the public safe in such big event venues. I think the ways in which Elaine Duke suggested for you to keep your event venues safe seem simple enough. I think having a plan and resources like the local police on your side are great ways to be prepared for a potential attack or disaster. I really liked what the article said about Agent Valk. How he said that when you hire good people, they will make the right decisions. I think this can be an important thing to remember for all managers. you can't of course have a hand in everything- especially in a high stress situation like an attack or disaster- so you need to hire people who you trust to make those right decisions.
It seems like the topic of safety has been taking the headlines across the entertainment industry. And to be completely honest I think the industry has a far way to come until it is truly “safe”. There have only been a few instances where I have felt truly unsafe in the theatre but what concerns me more are the stories that you hear from working professionals. One of my personal belief is that people are so stuck in there ways that they neglect to take the time and do something the right way and most of this comes from wanting to save time. In the rigging work especially this is a huge problem. I think that the standard fly system that we use in the theatrical world is absolutely absurd. Please explain me in what world it is a good idea to load hundreds of thousands of pounds over peoples head. That right there is one of the craziest things I have ever heard and I can personally guarantee that at the times are moving away counterweight and will begin to get replaced with automated line sets as breaking systems become more reliable.
I agree that venue safety is, sadly, an area of increasing concern. As theatre professionals, we have to plan for violent situations and do our best.
What I don’t agree with, though, is the assessment of VenueConnect and the assessment of this article that outside terrorism (the focus of Homeland Security) is the primary threat to venue security in this country. One can argue that Homeland Security is responsible for protecting us against domestic terrorists but they have not only failed to name domestic active shooters as terrorists, they have a poor framework for finding those shooters before they act. Domestic terrorists (active shooters of any kind) who are often mentally unstable and have easy access to firearms are a far greater threat. Venues should not only be planning for how to react in an active shooter situation they should be advocating for stronger gun control particularly in response to mental health. Don’t just prepare passively, ADVOCATE FOR PROGRESS.
This article isn’t what I thought it was going to be about. I thought this was going to be about rigging or other job related safety items. This article focuses on safety of the venue itself and its occupants. I remember a time when this wasn’t as much of an issue. There weren’t any metal detectors or the like when I went to baseball games growing up. Most of these issues, at least in the US, seem to have started post 9/11. Of course, there were theater fires and the like, but those were all “internal” threats, and not someone intending to do harm. I can see where this would be a monumental task for a venue manager on any given day, let alone for a special event, like the Oscars. I’m not certain how a lot of this works, but it would seem that one way for venue managers to alleviate some of this burden is to hire an outside security company. That way, the venue manager can focus on other things, and leave that aspect of their job to a person or company who specializes in security.
This article really hits hard on the possibilities of being targeted at something really everyone should feel safe at, a performance. You go to performances to escape from what’s going on in the world or your life at that moment, you shouldn’t have to be afraid of anything, you should be there just to experience what you came to see in the purest, most comfortable setting possible. It is great to see that such care and diligence is being extended to safety measures in the entertainment industry and that everyone, including big companies like J.R. Clancy and Wenger, are actively trying. Awareness is the key to staying and keeping everyone safe and by establishing guidelines and protocols and relationships with local law enforcement, these venue orchestrators are really doing all that they can to keep everyone happy and safe. You don’t see very many targeted attacks on performances, and when you do, despite the initial devastation, they are handled pretty well.
Venue security is sadly something that people have had to put much more consideration towards in recent years. Bag checks and metal detectors outside of theatrical and other performance venues are becoming a norm, and I'm sure security will only get tighter in the coming years. This article didn't seem to specifically address strategies to prepare other than to have plans and connect with local law enforcement. The reality is that if a situation like what happened in Manchester last spring were to happen again most venues would be extremely underprepared and ill equipped to handle it. One thing that I did like about this article was the sentiment that art can't stop being created or consumed because of this issue. We shouldn't let our fear stop us from doing what we love, as that is when the attackers really win. I completely agree with this idea, and I hope that with more venues putting safety measures into place this will be possible.
It's encouraging to know that nothing will stop the arts. If someone threatens to hurt those that want to enjoy the arts, then those venues come up with more safety precautions. I have to admit though that generally when I go to a theater or music concert there is never a moment when they explain what exactly to do during a time of chaos or danger. For me I understood that if something was going on that our animal instinct to flight, and my knowledge of where the exit signs are would be enough to get me out of the danger zone and into safety; however, what if this isn't enough. I think that general set of rules of safety for each theater should be passed and taught, which I believe this article was saying was happening.
This is one of my greatest fears. As a manager and as a patron of the arts, I feel pure terror at the thought of being confronted with an active shooter situation in a theatre or arena. At USITT last year, I was placed as a volunteer on a panel for handling an active shooter situation. It was a huge wake up call on paying extremely close attention and being very well prepared for anything. When it comes down to it, your ability to observe your surroundings and report suspicious behavior is the most important security measure there is. Metal detectors, security checkpoints, and security teams are all very comforting presences, but it wouldn't be unheard of for someone on a mission to make it through these barriers. Constant vigilance.
While I'm not sure I 100% agree with the articles undertones about how terrorists are attempting to make people detach from public art spaces by attacking them, as it seems as though the logic would more likely be that there are a lot of people in a confined space that will likely attract a lot of attention, I think it is really important to be prepared for the worst. While obviously there isn't a ton anyone can do in terms of preparing for a surprise terrorist attack, I think even discussing the fact that it could likely happen anywhere at anytime gets the idea in peoples minds rather than having to deal with a situation of this nature with pure obliviousness. I think the point about training staff is very important as well, because only half of the difficulty of dealing with a terrorist attack comes during the actual event itself. It's important to remember that there are long lasting impacts that will have to be dealt with and thought about afterwards.
Most theatres are very closed spaces which is part of the reason why active shooting creates extreme terror for theatre goers. I agree that theatres need to take cautions very seriously and train its staff and audience in every way possible. Towards the end of the article, the author said “While we can only touch on safety suggestions here, the take-away is that the venue industry must stay vigilant in keeping safety the first priority.” And I agree with Rachel above that this is passive protection not active advocating. We should not only prepare ourselves in case domestic terrorism happens, but also strongly advocate for more gun restrictions. We need to trace the problem back to its source – the easy access to weapons, the failure of government agencies to quickly react, the lack or real condemnation and reflection after every tragedy related to active shooting. We of all people, should protect ourselves and our patrons by pushing for changes, getting louder about gun control, and creating a safer space.
The “what if” seeds in our minds that this article places are ones that we will have to deal with throughout our careers. It is often that people forget that bad things happen to good people everywhere, not just in the places that have a reputation of being unsafe. The possibilities for terror and disaster are very prevalent in a place such as a theatre simply because it is a large gathering. It is a good thing for everyone working in a venue to be aware of because then the crew can brainstorm protocols to put in place and backup plans for times when an emergency could occur, and it is even more important that they implement preventative practices, so they can avoid these situations altogether. I did appreciate how this article did not suggest that our justified concerns should result in an end to the arts, but that they will continue on, and we will adapt to ensuring safety and prevention.
With Terrorism being such a hot button issue that many in American society fear, it is important for all places in which large groups of people gather to prepare for the worst. While I also agree with others who have dissented from the articles opinions on why terrorism/active shooting occurs at performance venues, the article does provide some interesting ideas about maintaining safety at theatre and concert halls. I think that the most important point that is brought up is collaboration with local (and perhaps based on the scale of the venue, state or federal) law enforcement. Perhaps training exercises with police in local venue could help police identify areas of the venue that could become particularly hazardous, as well as prepare police to better respond to a situation should one arise. This goes hand and hand with developing a plan, and this plan should include staff training and emergency exit plans, as well as who calls the police, and methods for insuring that necessary information is relayed to the police. The article neglects to mention that any person can become FEMA certified for Active Shooter Situations, and how this certification might help venue staff be proactive in preventing Active Shooter/Terror activities, as well responding to them. It should also be noted that for the largest entertainment events that have the greatest potential for becoming targets, the DHS already has a protocol for this, a “National Special Security Event”. This classification grants law enforcement agencies greater resources to prepare for these events, and allows certain Federal Agencies to have jurisdiction in place that thy otherwise might not. While this is obviously not a solution for every performance venue, the largest venues can take advantage of these procedures to ensure the safety of the public.
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