TPi: Touring the European continent can be challenging at the best of times and with a greater focus on cultivating accessible spaces for the live events industry, Marisa Rinchiuso, who has a deteriorative neuromuscular disease, muscular dystrophy, recently embarked on her first experience on the road, assuming the role of Assistant Stage Manager on the European leg of The Weeknd’s latest stadium tour.
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I haven’t ever really taken the time to think about how difficult it must be to be a person with a physical disability working in this industry. This article made me take a moment to contemplate that and realize how many roadblocks there can be. I love the fact that Marisa Rinchiuso is taking her hardships and using them as a way to improve the industry for the better. I really admire that. It is nice to know that there are people out there in the industry working to improve it and also willing to work with others who may have different abilities. I have always felt bad for not being able to carry heavy things and help out a lot, but I guess communicating these issues is the best way to go about them. I think this is definitely an important skill to learn, and we should really all work together to try and make things more inclusive.
This article is highlighting something really lovely to see. Like Rinchiuso, I also have this idea as a Stage Manager, that they are the everyman and there to help with anything at a moment's notice, and as such must be physically capable of doing various activities. While it was naive of me, I had never considered what it would mean to be physically disabled and wheelchair bound as a stage manager, and that that was a possibility. I think this story is really important to show that disabled people are still totally capable, as long as there are resources in place to support them. This highlights the importance of accessibility rights and the subsequent installment of those rights. I am glad that the Weekend saw how much of a resource Rinchiuso could be, and I hope that more productions, concert or otherwise, start to do the same. I hope this also helps empower those with disabilities that it is possible to do these kind of jobs and have the accommodations you may need to be successful.
This is a heart-touching story to read and poses many interesting thoughts. Accessibility has been talked about more and more in recent years, but it is definitely not a universal hot topic – many places still lack a baseline understanding and an initial discussion on this topic. Even in theatre, we talk about accessibility mainly for the audience but rarely for the crew and the production team. It is heart-warming to learn that Marisa had a lot of support from the other crew members on the team, but I personally believe the hardest to remove the implicit biases that are so deeply rooted in the recruitment process and the workspace. It’s particularly tricky for an international touring company, where you are going to so many different venues, and you don’t get to decide how the venue is built. It’s a lot of conversations and hassles, but accommodation shouldn’t be overlooked just because it’s “inconvenient”.
Accessibility has always been a problem in a lot of facilities, and it varies a lot in different places, but the standard now is to make sure that most places are accessible to most people(I think). I’m really glad Marisa got the support she needed when she did, and that the other people around here weren’t being overly helpful, or the exact opposite. I feel like why many disabled people don’t get the help they need is either because their disability is not a visible one, or that it may be inconvenient for others to help them. Personally, if someone asks me for help, I would usually help them, even if they aren’t disables. A lot of facilities don’t have the proper structures and ramps to help disabled people, and even as someone who isn’t disabled but constantly injured, it is difficult to get around and do work, and I would really appreciate the help and support from other people, as well as better created accessibility points.
In the industry it is not always one of the forefront things that people think about when making a space for a show. The accessibility that people have to go in and out and even around the space of certain shows should be top priority when making a space and creating an environment where people that need accessibility are comfortable and have the resources they need. I think that the article shines light on how a person can be involved in the creation and production of a show and not be fully able bodied. The struggles that the Assistant Stage Manager went through simply because not everything in the industry can work with someone that is disabled is ridiculous at this point. The strength and the voice that people now have in the industry is important because we can always change for the better and we can always become better for the world around us.
Accessibility within the entertainment industry is something that seems to be a constant conversation, which of course is a good thing. Where this conversation lacks is there is an entire focus on audience accessibility where the accessibility of the people actually working on the event is completely overlooked. This article was refreshing and such a lovely story. Empowering accessibility in live events is crucial to ensure that everyone, regardless of their abilities, can fully participate and enjoy the experience, especially if it is their job and passion. Ensuring that backstage arrangements accommodate individuals with disabilities is something that is crucial to creating a more inclusive industry. As a stage manager, it is her job to communicate and make sure everyone working on the project feels safe and seen. It would be hard to do that if you don’t feel supported yourself. Marisa is changing the industry as we know it for the better.
I'm so glad Marisa Rinchiuso had such a positive experience working with TAIT. The entertainment industry was built on and sustained by able-bodied people for so long that it seems to only now have been re-evaluating how sustainable it is. Any conversations in the past have been made with the audience or performers in mind. What happens to someone who has been a professional rigger for 30+ years who sustains an injury they’ll never fully recover from? I was pleasantly surprised to hear how accommodating and adaptive TAIT was. So often for people with invisible disabilities or with an “ever-changing disability” that they don’t have the resources they need. Sometimes this is due to the individual not feeling empowered to speak up or their employers to not have the patience or resources to deal. As the world and the industry thinks about an adapt to providing accommodations we should be aware of how it shows up differently in everyone.
Hooray for accessibility! When we talk about making live events more accessible, our thoughts often gravitate toward improving the experience for audience members, which is indeed crucial. Factors like egress, ramps, and accommodations for various disabilities are essential in ensuring that everyone can enjoy the show. However, it's equally important to consider the well-being of those who work behind the scenes to make these events happen. The article on empowering accessibility in live events sheds light on a vital yet sometimes overlooked aspect of the industry. People who contribute to the success of live events, from stagehands to technicians and crew members, deserve a safe and inclusive work environment. They too should have their needs and well-being prioritized, especially when it comes to issues like accessibility, physical and mental health, and overall job satisfaction. Recognizing the importance of accessibility for event staff is not just a matter of meeting legal requirements but also fostering a culture of inclusion and equity within the entertainment industry. By doing so, we not only create better working conditions but also promote diversity and open up opportunities for a broader range of talents to thrive in the world of live events. It's a necessary step toward making the industry more inclusive and welcoming for all.
This article is such an important read. Accessibility on the audience side of things is being discussed more and more, but what being a disabled technician means is rarely talked about. I’m so inspired by Rinchiuso’s comfortability in shining a light on the surprises good and bad about working with the Weeknd as someone who uses a wheelchair. One quote I found particularly interesting was, “I feel the most substantial change is cultural.” Too often “the budget” is cited as the reason that accessibility concerns are not met, however, this article as well as a conversation with Catherine Getchell in ARETP has dispelled me of this misconception. I’m left pondering what changes can be made on the educational level to change the culture around accessibility. Maybe at CMU, it looks like having production meetings devoted to accessibility or more accessibility workshops like the one we had with Georgina Kleege. I’m interested in exploring this issue further as I continue my education!
Accessibility is something that is often lacking in Live Events especially. I know people who have been denied requests for accessibility many times in the past and many people, especially at concerts and larger concerts Will barely get their accessibility needs recognized. It is nice to see that people are taking an interest in creating a more accessible environment And seeing how people want to create the spaces. it's taken many years to get to this point and it's likely going to take many many more years to get to a reasonable point that we are happy with however we can at least be happy with what we have for now and we can continue to look towards the future that possibly has more. In half an hour we're still going to have to fight for accessibility needs and keep the pressure on people to continue this push for accessibility.
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