Tiny Good: Inside Australia’s Live Production World
In this episode of the StageLync podcast, host Anna Robb interviews legendary Australian rigger and technical director, Tiny Good. With over three decades of experience in rigging, staging, and automation, Tiny has worked across Olympic Games, major world tours, corporate spectacles, and grassroots productions. He founded Showtech Australia in 1985 and has been a key contributor to safety standards and certifications in entertainment rigging both locally and internationally.
From humble beginnings supporting amateur theatre to leading massive productions under extreme timelines, Tiny shares lessons from the trenches of live events, highlighting the unique landscape of the Australian industry and the critical role of communication, safety, and mentorship. Check out this preview, and don’t miss the full episode next week!
What makes the Australian production landscape unique compared to other regions?
Tiny Good explains that in Australia, shows are often built and executed under tighter timelines and with smaller budgets than in the Northern Hemisphere. For example, while a large-scale K-pop stadium show in Malaysia had 12 days to load in, the Australian version had just four days with minimal notice. Australian crews are used to working fast and efficiently—creatives often design shows around available gear rather than building from scratch. This resourceful, high-pressure environment shapes the way Australians approach live production.
What certifications are required for rigging in Australia, and how do they differ from international standards?
Australia has stringent government-mandated licenses for rigging, forklifts, and elevated work platforms. These certifications are issued state by state and require formal training and assessments. Tiny describes a recent situation where international crews for Pink and Taylor Swift’s tours faced scrutiny from WorkSafe authorities, which nearly halted production due to unfamiliarity with local licensing. This incident emphasized the importance of bridging gaps between international credentials and Australian standards. Tiny also co-developed the Australian Arena Rigging Certification and helped create iCoPER, an international code of practice for entertainment rigging, to address these differences.
How do major international productions adapt to Australian safety standards?
All international equipment and structures must be validated by local engineers to meet Australian codes for wind, rain, and ground pressure. While gear from the U.S. and Europe usually passes with minimal changes, Asian imports sometimes lack detailed rescue plans or structural compliance. For example, the wind load standard in Australia is 142 km/h, much higher than other regions. Tiny explains that Australian shows sometimes implement alternative safety plans that require cancelling events if wind speeds rise beyond safe limits, rather than overengineering structures.
What advice would you give someone wanting to get into rigging and automation?
Tiny Good emphasizes starting on the ground before investing in expensive gear or training. Rigging companies in Australia often allow newcomers to assist on jobs, learning by observation and helping with tasks like ground rigging and truss assembly. He warns against expensive upfront investments, estimating that full entry into the field (harnesses, training, lost work time) costs around $5,000. Instead, aspiring riggers should build experience first. Most importantly, he believes everyone should be both a teacher and student in the field, constantly learning and sharing knowledge.
What’s one thing you would change about the live events industry today?
Tiny Good criticizes the growing disconnect between industry rhetoric and reality, especially around mental health and wellbeing. He points out the hypocrisy of promoting self-care while scheduling 22-hour workdays and tight travel turnarounds. He advocates for real commitment to crew health—including mental health first aid officers on-site, a practice now common on large Australian productions. He believes empathy and understanding across departments are vital: recognizing that everyone—from riggers to lighting designers—faces different but equally important challenges.
Key Insights from the Podcast
- Resourcefulness under pressure
The Australian events scene demands creativity and resilience, often executing world-class shows with limited time and resources. - Bridging global standards
Tiny’s work on iCoPER and national rigging certification aims to standardize safety while respecting regional differences. - Cultural contrasts
Asia’s growing entertainment scene often lacks the 360-degree safety approach standard in Australia, but collaboration is helping drive change. - Insane gigs
From building underwater scaffold with a barge crane in Malaysia to flying a tram into the MCG, Tiny’s most extreme projects showcase the wild, unpredictable nature of live events. - Longevity and learning
Tiny shares hard-won wisdom about career sustainability, including his own surgeries due to physical wear, and the importance of passing on knowledge to younger generations.
Editor's Note: At StageLync, an international platform for the performing arts, we celebrate the diversity of our writers' backgrounds. We recognize and support their choice to use either American or British English in their articles, respecting their individual preferences and origins. This policy allows us to embrace a wide range of linguistic expressions, enriching our content and reflecting the global nature of our community.
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