Behind The Scenes Of A Figure Skating Kiss And Cry Area

At a major figure skating competition, the kiss and cry is the small platform where athletes, coaches and officials wait for scores after a performance. Its size may be modest, yet its placement affects television coverage, athlete movement, judging operations, sponsor visibility and the emotional rhythm of the event. At Torino 2019, the Palavela arena needed a carefully coordinated installation for Senior and Junior competitions across men’s, ladies’, pairs and ice dance.

The area must look warm and celebratory on camera while functioning like a controlled technical zone. Seating, lighting, branding, score monitors, microphones, barriers and access routes all need to work together. A few centimetres can matter: a camera position that blocks a steward’s view or a cable crossing a walkway may create a safety issue during a tightly timed competition session.

Planning also changes according to the event format. A singles skater usually arrives with one coach, while a pair or ice dance team may need more seating and a wider route from the ice. Short programmes, rhythm dances and free skates have different traffic patterns, making the location and staffing plan part of the competition schedule rather than a decorative afterthought.

Choosing The Right Position In The Arena

The first decision is where the kiss and cry should sit in relation to the rink exit, mixed zone, judges’ area and main broadcast camera. At Palavela, the ideal position would allow athletes to leave the ice quickly without crossing the path of the next competitor. It also needs to be visible to spectators and television viewers without competing with the rink or creating distracting reflections.

A production team normally marks several possible positions before the arena is dressed. Each option is checked against sightlines from premium seating, standard stands and camera platforms. The team also considers whether the platform can be reached by an athlete using a wheelchair or with a temporary injury. A short, unobstructed route is safer than asking exhausted competitors to negotiate stairs, loose mats or crowded service corridors.

The final location must support both ceremony and movement. Athletes should be able to sit down immediately after leaving the ice, coaches should enter without delay, and officials should be nearby without appearing to control the scene. Barriers guide traffic discreetly, while a steward can keep photographers, volunteers and unauthorised staff outside the camera frame.

Building The Platform And Its Visual Identity

The physical installation begins with a stable raised platform, modular steps or a ramp, branded seating and a backdrop that can withstand repeated filming. The floor must be level, non-slip and strong enough for several people moving at once. The structure is inspected before doors open and again after any overnight change, especially when equipment has been wheeled across the surrounding floor.

Branding is planned around the broadcast image. Logos need to be readable but not so large that they overwhelm athletes or obscure the scoreboard. Backdrops are usually printed on tensioned fabric or rigid panels, with colours selected to complement the arena lighting. Torino 2019’s identity would have needed to remain consistent across Senior and Junior sessions, while still allowing sponsors and official event marks to appear in approved positions.

Furniture is selected for comfort and camera composition. Low-backed chairs keep faces visible, while a compact table may hold water, tissues and a small monitor. The area should feel less formal than a press conference, but every object has a purpose. Bottles with noisy labels, reflective surfaces and loose papers can become surprisingly visible during a close-up interview.

Power and data are concealed wherever possible. In Australia, a comparable arena installation would generally be checked against relevant electrical requirements, including AS/NZS 3000 principles for electrical installations, with leads protected from pedestrian traffic. Australian suppliers in Sydney, Melbourne and Brisbane commonly provide reusable staging, cable ramps and printed fabric systems, which can reduce waste when the same equipment is used across several event sessions.

Matching The Setup To Each Discipline

Singles events usually require the most compact arrangement. One athlete and one coach can share a narrow seating line, with a clear camera angle for scores and reactions. The route from the rink is generally simple, but the turnover can be rapid, so the nearby steward must reset chairs, check the monitor and remove discarded items before the next skater arrives.

Pairs require more room and careful sightline planning. Two athletes may enter together, followed by a coach, interpreter or team representative. The seating layout must keep everyone within the frame without forcing one person to sit behind another. A wider platform or a slightly angled chair arrangement can preserve the intimacy of the moment while avoiding crowded movement at the steps.

Ice dance teams present a similar requirement, although their arrival may have a different rhythm depending on how the event’s production team handles interviews and replay sequences. Junior competitors may also need additional guidance because some are less familiar with the arena, broadcast routine and post-performance procedures. A volunteer positioned near the exit can quietly indicate where to wait without interrupting the official flow.

The competition format influences reset time. The short programme guide helps explain why a kiss and cry team must prepare for different scoring rhythms between short programmes and free skates. A free skate may generate a longer emotional and media moment, while a short programme session can demand faster seat turnover and more disciplined cueing.

Coordinating Timing, Scores And Broadcast Cues

The kiss and cry team works from a detailed running sheet linked to the official start order. A floor manager tracks when each competitor leaves the ice, when the replay is ready and when the scoreboard can be displayed. A producer may give a silent cue for the camera, while the announcer or presenter waits for confirmation that the result is official.

The monitor shown to athletes needs a reliable feed and a readable display. It may show scores, rankings or a branded graphic, but the information must be synchronised with the official results system. If the screen updates too early, an unofficial result could appear on camera. If it updates too late, athletes may be left waiting in an awkward silence.

Audio also requires precision. Microphones are tested for both host interviews and spontaneous reactions, with spare batteries and a backup unit kept close by. Headsets allow the floor manager, camera operator and technical director to communicate without adding noise to the arena. The nearby sound level must be monitored because crowd music, rink announcements and applause can make a quiet interview difficult to hear.

A rehearsal is more than a quick walk-through. Staff simulate a singles arrival, a pair arrival, a delayed score, a missing coach and a camera interruption. The team checks whether the route remains clear when photographers gather and whether an athlete can reach the platform while wearing skate guards or carrying equipment. These small tests protect the schedule when the live event becomes unpredictable.

Managing People, Safety And Accessibility

Staffing normally includes a venue liaison, floor manager, steward, camera crew, results-system operator, interview producer and volunteers. Their roles must be distinct. The steward controls access, the floor manager controls movement, and the results operator confirms information. When one person is asked to perform all three tasks, mistakes become more likely during busy sessions.

Safety procedures cover more than the platform itself. Cable runs need covers, steps require visible edges and the surrounding floor must remain dry. Medical and emergency routes cannot be narrowed by barriers or sponsor furniture. Fire and evacuation requirements take priority over the preferred camera angle, and the final layout should be approved by the venue’s safety coordinator before spectators enter.

Accessibility is built into the first drawing rather than added later. A ramp or level route may be needed for an athlete, coach or guest using a wheelchair. Seating should allow a companion to remain nearby, and the interview position should work for people of different heights and mobility needs. In Australia, venue planning would also sit alongside obligations under the Disability Discrimination Act 1992 and state or territory work health and safety laws.

Volunteer preparation has a practical local dimension. At Australian events, many volunteers balance shifts with public transport, study or weekend work, so clear call times and short written briefings are valuable. A Melbourne or Sydney arena may have a different crowd flow from a Turin venue, but the principle is the same: volunteers need a visible supervisor, a radio or agreed signal, and a precise understanding of who may enter the camera zone. Event operators can also study the staffing approach used by CanWest Games when considering volunteer coordination and athlete-facing logistics.

Resetting The Area Between Sessions

A kiss and cry installation is rarely finished once the first competition begins. Between Junior and Senior sessions, staff may replace sponsor panels, change seat positions, clean the floor, reload batteries and test the results display. Any adjustment should be recorded so the camera crew, stewards and venue operations team are working from the same layout.

Cleaning is particularly important after a long day. Water bottles, tissues, tape, skate guards and accreditation lanyards can accumulate in a confined space. A discreet reset team removes waste without disturbing the branding or damaging the platform. Reusable props and fabric graphics should be stored in labelled cases, helping the crew work quickly when the schedule includes an early practice session followed by evening competition.

The team also reviews what happened. Did pairs struggle to enter together? Was the monitor visible from every chair? Did photographers crowd the ramp? Were Junior athletes given enough instructions? A short debrief can lead to a changed barrier position or an extra steward for the next session. The best improvements are often operational rather than visual.

Planning factor	Singles events	Pairs and ice dance	Junior sessions
Seating footprint	Compact, usually one athlete and one coach	Wider arrangement for two athletes and support staff	Flexible layout with room for guidance
Arrival route	Fast and direct from rink exit	Wider route to prevent bunching	Clearly marked route with volunteer support
Camera priority	Close reaction and score reveal	Full-team framing without blocked faces	Supportive coverage with simple instructions
Reset pressure	High during rapid score turnover	Moderate, with more movement per arrival	Variable, depending on confidence and schedule
Key safety concern	Quick access around steps and cables	Crowd control near the platform	Preventing confusion in unfamiliar surroundings

The kiss and cry area is a compact example of event logistics becoming visible. Its success depends on structural checks, broadcast timing, accessibility, results accuracy and human judgement. When those elements are aligned, the audience sees an effortless exchange of relief, pride and anticipation. Behind that moment is a carefully rehearsed system designed around the particular arena, competition format and people who use it.

For organisers planning a skating event in Australia or elsewhere, the practical task is to map the athlete route, confirm technical requirements, engage qualified venue and electrical specialists, and rehearse every discipline before competition day. A well-designed area protects the schedule, gives athletes a dignified place to receive their scores and turns a small corner of the rink into one of the event’s most memorable images.