With any performance, things have the potential to go wrong: microphones can stop working, the power can fail causing silence and darkness, music cues can be missed, etc. Whether its human error or just some freak accident, problems will arise–and they take us by surprise every time!
In any event, our greatest ally is preparation. A thousand mistakes and an equal amount of equipment failure can potentially be avoided by thinking through every possible technical, musical or transitional weakness that may be lurking in our weekly worship plan. Paranoia about something going wrong during a worship service shouldn’t rule our planning process, though. If we plan far enough out from the performance, with plenty of time to process the program design, while utilizing the talent and wisdom of the team around us collectively thinking through each segment of the service, we can anticipate problems and make corrections.
As I have written before, “flow” is necessary when we are taking our congregations on a weekly journey, maintaining their full and active attention while communicating the message of the Gospel. When things go wrong, their attention is deflected away from the intended focus and toward the distraction. This destroys that precious state of mind which every skilled communicator works for: the place where the audience is no longer self-aware, time flies and they are fully engaged in the moment.
There are two areas to consider when dealing with things that go wrong during a performance: the stage and the audience. Here are 10 tips that may help avoid the most serious of problems.
From The Stage
1. Don’t do anything from the stage that hasn’t been scrutinized and agreed upon collectively by the worship production team. Of course, there will be times when God wants to go in another direction and the pastor or leader of the service will have to make that call. Spontaneity doesn’t always equate spirituality, though.
2. Make sure that the technical aspects of the service are tested and run in rehearsal; go over entrances and exits, how staging will be moved–who will do what and where, etc.–beforehand.
3. Make sure that sight lines are established between the leader, band and vocalists. If that isn’t possible, create an audible means of communication if changes are needed during the performance (I wear a pair of wireless, in-ear monitors so I’m always connected to the guys at the sound console). Use hand signals or gestures as a means of communication without having to disrupt flow.
4. When a mistake is made try not to draw attention to it. It is likely that the audience won’t even be aware of the mess-up. Skilled performers know that a mistake can enhance a performance when, even after a stumble, they land gracefully on their feet (this is only for the uber-skilled among us)!
5. If possible, designate a person from the tech team to help with potential stage problems. When called upon, they can inconspicuously move to the stage to fix a sound problem or make an equipment change. It’s important that the performers stay focused on playing and singing. If a problem brings a performance to a screeching halt, it needs to be established who will stand in the gap and carry the program until a solution is found, or to conclude the service altogether. An audience’s trust in a good leader will go a long way in helping to get through a difficult moment during a performance.
From the Audience
1. Many disruptions come from babies in the audience. Create a policy that limits certain ages to participate in services. If this is not possible, take the opportunity to promote your well equipped, secure, clean and nurturing child care facility where their age-appropriate behavior is be better suited. Supplying a private and discreet “family room” for mothers, including a video feed of the service, is a great way to help with this problem.
2. Make it a policy that if congregants choose to sit toward the front of the sanctuary, unless a pertinent personal or physical issue arises, they should remain seated during the service–otherwise, encourage them to sit farther back in the room. Sanctuary etiquette and respect need to be taught from the pulpit as well as in children’s training classes. Pastors and/or worship leaders will have to make special effort to teach worshipers proper behavior in casual worship environments. This may need to be done often, especially in a growing church.
3. Train ushers and greeters to be aware of any potential interruptions in the audience and teach them to assist the pastor in a proper and discreet manor when called upon. Some congregants may need special attention, such as those with disabilities and/or those who require physical assistance.
4. Make sure that a person of authority other than the one leading from the stage is available to help contain any situation that may arise. If the pastor or leader makes a gesture from the stage, that person needs to move quickly toward the disruption or spiritual need in the audience.
5. Sometimes a medical emergency may arise in a service. If the ill person is mobile, it is best to handle the situation from the back of the auditorium until they are stabilized, or until emergency personnel can transport them. Sometimes the person cannot be moved. But if it’s at all possible, respectfully allow the service to carry on. Plan in advance how to approach this situation when the need arises.
We can’t prevent every disruption from raising its ugly head during our services. Problems can turn out for the better, though, if we plan for an “escape-route” before things go horribly wrong. Let’s face it, to ere is human, but to walk right into a problem because of poor planning or laziness is inexcusable!
Look for Creating Great Moments in Worship, Part 7, in the coming weeks. Any comments, questions or suggestions may be directed to me at jamie@jamieharvill.com. Also, ask how I can help you and your your church attain a more effective worship experience.
I came of age while on the road with the First National Band (FNB). (See the blog written about Gary Henley a few months back). American Entertainment Productions (AEP) of Columbus, Ohio, developed this group for the purpose of entertaining Jr. and Sr. high school students during convocations. We mostly traveled around the U.S. but did a few USO tours which, during my tenure (1980-1982), took us to Alaska, Italy, Spain, Greece and Turkey.
