Company Creates Drones To Disinfect Broadway Theaters

The atmosphere inside the Richard Rogers Theater on October 19, 2016. (Photo: Walter McBride / Getty

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After returning to the New Amsterdam Theater, it may be necessary to clear all the magic carpets through an air traffic controller.

As Broadway executives debate different strategies for reopening theaters after the COVID-19 pandemic, a Buffalo-based startup called EagleHawk has developed drones to spray disinfectant on Broadway theaters. "This technology reduces the need for human exposure, [minimizes] the cost of PPE, and can save a lot of time and resources," said Will Schulmeister, its chief operating officer.

In the innovative system, the disinfectant is stored on the ground and pumped through a hose to the hovering drone, and then spread to the entire theater. At the same time, another drone was drifting below it to ensure that the hose would not get tangled in any seats.

Schulmeister pointed out: "Using drones to disinfect large target spaces and public areas (such as Broadway theaters) is more effective than having multiple employees walk around, wiping each seat or [using spray]. "[W] e can cover most of the seats very quickly," and "It's much safer, because now you don't need a flight attendant to carry a heavy backpack filled with liquid, you don't need to be equipped with PPE, and you don't have to be exposed to chemicals "

Chief Executive Officer Patrick Walsh (Patrick Walsh).

Schulmeister said: “Broadway theaters can be disinfected with drones in less than an hour without putting people on the front line.”

Although the owners of Broadway theaters may be afraid of letting the machines dance around the landmark venue, EagleHawk executives insist that it is safe to operate inside. "The sensors we use allow us to safely navigate indoors, so we can detect a half-inch cable."

Walsh’s technology has been tested in several large venues, including the KeyBank Center, the venue of the Buffalo Sabres professional hockey team.

In addition, spraying cleaning fluid should not damage the fabric of the seat.

Schulmeister said that while following the government's guidelines on cleaning surfaces to remove SARS-CoV-2 and other pathogens, "we can control the amount of liquid spray so that the seats are not oversaturated and still meet the disinfection requirements. "In addition, our drone system has nothing to do with chemicals, so our idea is that we will be able to use appropriate chemicals that will not cause problems for these types of seats," he said. Certain chemicals can be changed.

Erik Viker, a drama professor at the University of Susquehanna, commented: “I think the new drone technology is a good choice for arenas, stadiums and large performing arts centers with thousands of seats. ."

Although the main owners of Broadway theaters refused to discuss their plan to clean seats after the pandemic, people at some facilities did not think that drones would fly.

A former theater executive admitted: “Actors are super sensitive to anything sprayed in the air.” The chemicals used to disinfect seats may irritate some performers and affect their vocal ability, just like dust and mold. .

In addition, the staff cleaning up Broadway theaters are members of the large SEIU Local 32BJ union. Although its leaders do not want to comment on the possible use of drones, it is believed that the organization will refuse to adopt any technology that will reduce the size of its workforce.

Some smaller theaters are experimenting with other possible alternatives, such as wands that emit ultraviolet light and machines that make antibacterial mist. "We are spending money on things to make the audience feel more comfortable,"

A small theater owner in Florida.

Like the race to develop a vaccine, it is not clear which cleaning method is the most effective against the new coronavirus.

I am the entertainment lawyer of Cowan, DeBaets, Abrahams & Sheppard LLP, where I negotiate with theater, film and television companies. Before, I worked at Arps Skadden,

I am the entertainment lawyer of Cowan, DeBaets, Abrahams & Sheppard LLP, where I negotiate with theater, film and television companies. Prior to this, I worked at Skadden, Arps, Slate, Meagher & Flom LLP and the US Securities and Exchange Commission. Before entering the legal profession, I developed an algorithm to predict the lifespan of Broadway drama productions. It won global attention and helped change the perception of Broadway business by Tony Award-winning producers. I graduated from Cornell University and the University of Chicago Law School.