Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 5011268; Mon, 15 Nov 2004 03:00:31 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #196 Date: Mon, 15 Nov 2004 03:00:22 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.1 (2004-10-22) on prxy.net X-Spam-Status: No, score=-5.0 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.1 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #196 1. Re: Fine arts center management by Steve Larson 2. Re: Fine arts center management by "Tony" 3. Re: Zooms by Bruce Purdy 4. Re: Getting Spray paint off road cases by Dale Farmer 5. Re: Getting Spray paint off road cases by "K. Daly" 6. Re: Getting Spray paint off road cases by "Joe Meils" 7. Re: Fine arts center management by "Tony" 8. Re: Getting Spray paint off road cases by "Paul Guncheon" 9. Six Degrees of Mitch Hefter! by "Bryan H. Ackler" 10. Re: Problems of the world by "Paul Guncheon" 11. Re: Thank you! (Re: Theatrical architecture & 10 biggest mistakes ) by "Waxler, Steve (waxlers)" 12. Re: Zooms by FrankWood95 [at] aol.com 13. Re: Fine arts center management by FrankWood95 [at] aol.com 14. Re: Fine arts center management by FrankWood95 [at] aol.com 15. Re: Fine arts center management by FrankWood95 [at] aol.com 16. Re: Fine arts center management by Steve Larson 17. flashing (unwanted) ETC Smartpack by Scott Parker 18. Re: flashing (unwanted) ETC Smartpack by Michael Heinicke 19. Re: flashing (unwanted) ETC Smartpack by "Tony" 20. Flame Proof by mconn [at] cumberlandcollege.edu 21. Scenic Design position available. by Joseph Champelli 22. staples: med 7/16" crown by Scott Parker 23. Re: theatrical architecture by 24. Re: staples: med 7/16" crown by "Jeremiah Minh Greenblatt" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Sun, 14 Nov 2004 09:13:48 -0500 Subject: Re: Fine arts center management From: Steve Larson Message-ID: In-Reply-To: Evidently, Frank, work must be scarce across the pond. Otherwise, you wouldn't be working for an organization that works like that. Or, perhaps, you are a sadist. I work for an organization that is not-for-profit. Our yearly budget is over $1 million (US). We set a budget based on previous experience, the upcoming season, and our needs and dreams. We are forced to stick with that budget. We have a full-time staff of seven. Most of the staff is in the front office. I am designer/technical director. The costume designer is hired in show-to-show. If our founder/executive director/director doesn't want to direct, we hire in a director. Last season, he was on a sabbatical and I worked with four fantastic directors. All actors and running crew are volunteers. If I want any help on the set/lights/props, I ask my volunteers. Several local high schools require community service. I can get 10-30 eager, willing students any time I want. I had a work day this past Saturday. I had 19 volunteers. We struck 180 lights and cable and moved them to the positions they will be used in for the next three productions. I spent $100 on pizzas and sodas to feed them. I spent the first 15 minutes, instructing them on the proper way to take down, handle, and rehang the instruments, and why. There is a very real chain-of-command at every theatre I've worked in in the last 40 years. We have rules on purchases that the staff, not the board of directors, set up. We follow them because they work, and they cover our asses when the annual report goes to the auditors. I answer only to my boss- the executive director, not the bookkeeper, not the marketing director, not the receptionist. You tell me to take a running poke at a rolling doughnut and you are out. Period. I can't imagine the quality of work that comes out of your situation. Steve on 11/13/04 8:23 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > The trouble with such organisations is chain-of-command. As, I think, with > all voluntary 'organisations'. Nobody can TELL anybody what to do: all they > can do is to ask. > > The only constraints are financial. If the guy with his hands on the money > says "No", it will not happen. I tell him to take a running poke at a rolling doughnut, he has little recourse. > > > Frank Wood > > ------------------------------ Message-ID: <003b01c4ca56$62ea7fb0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Fine arts center management Date: Sun, 14 Nov 2004 14:29:42 -0000 ----- Original Message ----- From: "Steve Larson" To: "Stagecraft" Sent: Sunday, November 14, 2004 2:13 PM Subject: Re: Fine arts center management > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Evidently, Frank, work must be scarce across the > pond. Otherwise, you wouldn't be working for an > organization that works like that. Or, perhaps, > you are a sadist. > > I work for an organization that is not-for-profit. > Our yearly budget is over $1 million (US). We set > a budget based on previous experience, the upcoming > season, and our needs and dreams. We are forced > to stick with that budget. We have a full-time staff > of seven. Most of the staff is in the front office. > I am designer/technical director. The costume designer > is hired in show-to-show. If our founder/executive > director/director doesn't want to direct, we hire > in a director. Last season, he was on a sabbatical > and I worked with four fantastic directors. All > actors and running crew are volunteers. If I want > any help on the set/lights/props, I ask my volunteers. > Several local high schools require community service. > I can get 10-30 eager, willing students any time I > want. I had a work day this past Saturday. I had > 19 volunteers. We struck 180 lights and cable and > moved them to the positions they will be used in for > the next three productions. I spent $100 on pizzas > and sodas to feed them. I spent the first 15 minutes, > instructing them on the proper way to take down, handle, > and rehang the instruments, and why. > > There is a very real chain-of-command at every theatre > I've worked in in the last 40 years. We have rules > on purchases that the staff, not the board of directors, > set up. We follow them because they work, and they > cover our asses when the annual report goes to the auditors. > > I answer only to my boss- the executive director, not > the bookkeeper, not the marketing director, not the > receptionist. > > You tell me to take a running poke at a rolling doughnut and > you are out. Period. I can't imagine the quality of work > that comes out of your situation. > > Steve > Hmmm.... Now - right off the bat, I am NOT agreeing with FW wrt the basic content of his post BUT I would have to say that what you might see there is worlds apart from a huge number of UK am-dram companies and venues. I would hazard a guess that your 'not-for-profit' means you get paid but the venue shouldn't make a huge profit for shareholders, whatever - correct me if I'm wrong. My venue, which I manage and am tech manager for (in my SPARE time away from home and 'real' day job) has a normal annual budget for EVERYTHING - utilities, maintenance, promotion, technical etc etc - of around £75,000. What I would give for a £1m budget for that, let alone departmental! Now, as a volunteer myself, I can only give so much time (in fact I often give more than is good for my marriage, but that's another story!!) as can my fellow volunteers, so often there can indeed be an attitude of "I'm only doing what I want to" or "You can't TELL me to do that so I won't". The trick is, of course, to try to persuade, bribe or embarrass (in extremes) those you have into what needs doing, but that can sometimes take a while to achieve. So, with utmost respect, I'd say compare like for like before peering over the parapet of that million dollar penthouse you have on us poor am-drams...! 8-)))))))))))))))))))))))))) Ynot ------------------------------ Date: Sun, 14 Nov 2004 10:38:14 -0500 Subject: Re: Zooms From: Bruce Purdy Message-ID: In-Reply-To: I think the USA will fully embrace Zoom fixtures as some point *After* we get around to adopting the metric system. (One hurdle at a time.) (Don't hold your breath!) ;-) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <41978C55.77FE820A [at] cybercom.net> Date: Sun, 14 Nov 2004 11:48:21 -0500 From: Dale Farmer Subject: Re: Getting Spray paint off road cases References: "James, Brian" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I have a new questions, sorry about all of the questions lately, and I do appreciate all of the input I have received on and off the list. Hopefully one of these days I may actually be able to contribute as opposed to always asking. > > I have a few road cases that are many years old, and the person that had my job prior to me used spray paint to label the contents/purpose of each case (some were also bought used with labels on them). Inevitably all the cases have changed function. Strictly for aesthetic reasons, I would like to remove the spray paint labels (some labels are pretty huge and covering with the new labels or gaff tape looks even worse). > > I am concerned if I sand them, I will damage the original case too much, and further concerned about using to strong a chemical and what that will do to the original case. It is beginning to look like all I can do is deal with it, or spray paint over the labels in a color closely matching the original case color. Unless some one else has some ideas? > > Please let me know if some one has a solution to this one. > > I appreciate it! Find a local industrial janitorial supplier. Investigate their selection of graffiti remover products. Test them on a corner of the case first to find out if it dissolves the case materials as well. Many of them will. For removing old labels, warm water and a plastic scraper to remove paper labels, goo-gone to remove plastic labels. Then wipe down with paint thinner and spray paint the whole thing a new color. --Dale ------------------------------ Message-Id: <6.1.2.0.2.20041114120010.01cc5d18 [at] mail.comcast.net> Date: Sun, 14 Nov 2004 12:01:11 -0500 From: "K. Daly" Subject: Re: Getting Spray paint off road cases In-Reply-To: References: Goop and a plastic scraper. >It is beginning to look like all I can do is deal with it, or spray paint >over the labels in a color closely matching the original case color. >Unless some one else has some ideas? ------------------------------ Message-ID: <001b01c4ca6c$ea115660$95ecbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: Getting Spray paint off road cases Date: Sun, 14 Nov 2004 11:10:59 -0600 I had some acrylic pipes given to me for use on a set once. They were these huge clear plastic pipes that you could stand inside of. (Think of the cryo tubes on the old Last in Space TV series. Anyway, they were perfect, except someone had spray painted them with gold, white and green. After talking to a few model making friends, they suggested using EZ Off Oven Cleaner. Surprise! It took the paint off without destroying, or frosting the clear plastic. Provided that your cases are sheathed in standard ABS plastic, with leather texture, this stuff should work wonders for you. Joe Meils UCA Theatre Conway, AR ------------------------------ Message-ID: <003f01c4ca6e$058126e0$0800000a [at] Tony> From: "Tony" References: Subject: Re: Fine arts center management Date: Sun, 14 Nov 2004 17:18:53 -0000 Steve Said > > Evidently, Frank, work must be scarce across the > > pond. Otherwise, you wouldn't be working for an > > organization that works like that. Or, perhaps, > > you are a sadist. > > > > I work for an organization that is not-for-profit. > > Our yearly budget is over $1 million (US). We set > > a budget based on previous experience, the upcoming > > season, and our needs and dreams. We are forced > > to stick with that budget. We have a full-time staff > > of seven. Most of the staff is in the front office. > > I am designer/technical director. The costume designer > > is hired in show-to-show. If our founder/executive > > director/director doesn't want to direct, we hire > > in a director. Last season, he was on a sabbatical > > and I worked with four fantastic directors. All > > actors and running crew are volunteers. If I want > > any help on the set/lights/props, I ask my volunteers. > > Several local high schools require community service. > > I can get 10-30 eager, willing students any time I > > want. I had a work day this past Saturday. I had > > 19 volunteers. We struck 180 lights and cable and > > moved them to the positions they will be used in for > > the next three productions. I spent $100 on pizzas > > and sodas to feed them. I spent the first 15 minutes, > > instructing them on the proper way to take down, handle, > > and rehang the instruments, and why. > > > > There is a very real chain-of-command at every theatre > > I've worked in in the last 40 years. We have rules > > on purchases that the staff, not the board of directors, > > set up. We follow them because they work, and they > > cover our asses when the annual report goes to the auditors. > > > > I answer only to my boss- the executive director, not > > the bookkeeper, not the marketing director, not the > > receptionist. > > > > You tell me to take a running poke at a rolling doughnut and > > you are out. Period. I can't imagine the quality of work > > that comes out of your situation. > > > > Steve > > > > > Hmmm.... > Now - right off the bat, I am NOT agreeing with FW wrt the basic content of > his post BUT I would have to say that what you might see there is worlds > apart from a huge number of UK am-dram companies and venues. I would hazard > a guess that your 'not-for-profit' means you get paid but the venue > shouldn't make a huge profit for shareholders, whatever - correct me if I'm > wrong. > My venue, which I manage and am tech manager for (in my SPARE time away from > home and 'real' day job) has a normal annual budget for EVERYTHING - > utilities, maintenance, promotion, technical etc etc - of around £75,000. > What I would give for a £1m budget for that, let alone departmental! > Now, as a volunteer myself, I can only give so much time (in fact I often > give more than is good for my marriage, but that's another story!!) as can > my fellow volunteers, so often there can indeed be an attitude of "I'm only > doing what I want to" or "You can't TELL me to do that so I won't". > The trick is, of course, to try to persuade, bribe or embarrass (in > extremes) those you have into what needs doing, but that can sometimes take > a while to achieve. > > So, with utmost respect, I'd say compare like for like before peering over > the parapet of that million dollar penthouse you have on us poor > am-drams...! > > 8-)))))))))))))))))))))))))) > > Ynot > ----- Original Message ----- From: "Steve Larson" To: Sent: Sunday, November 14, 2004 3:00 PM Subject: Re: Fine arts center management > There are no shareholders. Every penny that comes in at > the box office or most contributors is used. The majority > of our budget goes for one production...the "cash cow" that > supports our main stage season. This holiday show tours > to one venue out of town...it travels in two 48' semi-trailers. > You have to hire drivers for those big rigs. We play in > two venues...we have to hire some in-house people by contract. > Part of the crew for that big show is hired. The sound contract > alone is probably more than the total annual budget of many > of the smaller companies in our area...there are 63 companies > working in our area. The orchestra is hired...many have been > with the show since it's inception 30 years ago. The actors, > 72 of them this year, are not paid and spend two months > in rehearsal. > > For our 30th anniversary we treated ourselves to new scenery. > $125,000 worth, underwritten by Blue Cross, Blue Shield. I > spent the last three months building the wagons, primarily > by myself to save money. You can't bring inexperienced > carpenters into a project like this. Check out our website > at theatreinthepark.com for more info. > > Our facility is a converted National Guard Armory that is > owned by the city and rented to us. We receive a grant from > the city to cover utilities, major maintenance. The city also > has a similar agreement with another company with a bigger > season and bigger facility. Most of the 63 companies in > our area do not have their own venues...they find what they > can. Most of these companies do not have trained directors > or actors...they are "community theatre". I detest our > organization being called community theatre. Every director, > designer, and professional staff member is trained and very > professional. We treat all our actors and crew as professionals. > > Our main stage season consists of four shows...fully mounted > in a black box space that seats 244 persons. The budget for > sets, lights, props, and costumes for those four shows is > $18,000. > > My office is a small area that I built out of a portion of > a small, but well-equipped shop. My computer and printer > are usually coated with dust. My "penthouse" would be > someone else's storeroom. My wife has a full-time job, > but is a trained costume designer. She is hired in on > the main stage season. We car-pool to weekend work calls. > We also understand each other and support each other. > Work stays at work. It is not brought home. > > Steve So - as I said, you're not comparing like for like. Though I hesitate to put myself in the same place as FW (god forbid!) he and I both work in a wholly amateur venue. The only shows we do that can have big budgets (by which I mean under ten grand, many are MUCH less!) are those that are able to support themselves. Most just live off their ticket sales. Ours is a small venue, only 250 seats, and fairly small stage, but what we lack in size we try (not always successfully, mind!) to make up for in quality. I suspect Frank's is similar. I wasn't trying to be rude, but neither was I supporting FW's attitude. However, in this sort of situation, there can very often be a diversity of personalities that can (and sometimes do) result in harsh words betwixt people involved. And the sheer fact that every one of us is a volunteer means that unfortunately some do not feel constrained by normal work-day etiquette that might prevent them from over-reaction at times!! Just so's I'm clear. Ynot ------------------------------ Message-ID: <002101c4ca70$c958bb80$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Getting Spray paint off road cases Date: Sun, 14 Nov 2004 07:38:42 -1000 <> You want to do this the hard way or the easy way? You didn't mention what the base finish of the cases is. If it's a paint finish, paint over the labels as any kind of remover will probably not stop at the label. I wouldn't consider sanding... sanding is genrally what you do when something is rough. If it's a plastic or other "impervious", you can try some of the various solvents on the market: "Goof Off", "Goo Gone", etc., or any other graffiti remover. I imagine it will be rather difficult to remove all traces of the label and have a pristine surface remain. Personally, I think I would paint them out. Perhaps with a contrasting color to make a block for a new label? Laters, Paul "Who commanded the confederate army?" Tom asked generally. ------------------------------ Message-ID: <41979B45.2080608 [at] ix.netcom.com> Date: Sun, 14 Nov 2004 09:52:05 -0800 From: "Bryan H. Ackler" Organization: Va. Tech - Vassar - USITT - NTHP Subject: Six Degrees of Mitch Hefter! References: In-Reply-To: Jon, careful in the "small" industry Six Degrees is the beginners position....... I would guess that Mitch actually is closer to Three Hundred and Sixty Degrees........... Bryan H. Ackler Historic Multnomah Village Portland, Oregon ====================================== From: "Jon Ares" Subject: Re: What's that Light / Major Corporation - Corrections Date: Sat, 13 Nov 2004 19:29:57 -0800 >> So, the only relationship between Major and Electro Controls is >> the Salt Lake City tie, and if you want to stretch it, that I worked >> for Major and then Strand, and was at Strand during Strand's >> acquisition of Electro Controls in the mid-1980's. Ooh, a new game: Six Degrees of Mitch Hefter! :) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative http://www.wlhs.wlwv.k12.or.us/aresj/theatre/index.htm ------------------------------ Message-ID: <003201c4ca74$30bd0e90$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Problems of the world Date: Sun, 14 Nov 2004 08:03:04 -1000 <> Erm... I suppose so. There might be a hitch if we have to agree on which is the best multitool or better computer system. Laters, Paul "I'm covered in blood," Tom said readily. ------------------------------ Message-ID: <886EF25AF8BEF64EB89A820EF84064FF0A3CB887 [at] UCMAIL4> From: "Waxler, Steve (waxlers)" Subject: RE: Thank you! (Re: Theatrical architecture & 10 biggest mistakes ) Date: Sun, 14 Nov 2004 13:22:44 -0500 You can use my name, no problem Steve Waxler Technical Director College Conservatory of Music University of Cincinnati -----Original Message----- From: K. Daly [mailto:KDaly973 [at] comcast.net] Sent: Saturday, November 13, 2004 2:43 PM To: Stagecraft Subject: Thank you! (Re: Theatrical architecture & 10 biggest mistakes) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- You all have provided some fantastic suggestions and input for m y student friend. He's a 2nd year student at NJIT, and apparently his faculty advisor is also very interested in his project. They might enlarge it into a competition among several students, and involve my theater int he final decision of the winner. Along the way, all the students involved will pay many visits to my theater to ask questions and study how we use the space now as well as how we want to be able to use it in the future. I'd like to share your many comments with the students. I can strip off the email addresses and your names, or I can pass them along verbatim ... does anyone here object? Thank you again for all the time you put into this for us. -Kate ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <1e1.2f83c037.2ec8fea0 [at] aol.com> Date: Sun, 14 Nov 2004 13:32:00 EST Subject: Re: Zooms In a message dated 14/11/04 05:08:15 GMT Standard Time, jea00321 [at] yahoo.com writes: > In reality, they are often big and heavy, they take a > learning curve to learn to focus, and it can be > difficult if not impossible to get a true hard edge - > particularly if you want a true hard edge at a > specific size. Some are, some not. The CCT Minuette and the Strand Prelude are reasonably light, at 650W, and the CCT will focus a hard edge easily. The CCT Silhouette and the Strand Harmony are much heavier, and I was very glad when we changed the latter to Source 4s. > > What I discovered in one hall I work in a lot that had > a bunch of zooms was that they were hung as part of > the house plot, and didn't change positions very > often. So, we rarely changed their focus. So, most of > their functionality was wasted. When we did decide to > adjust, they were often a complete bear to move, > having frozen in place. I agree with you that this is a waste of their versatility, and that fixed angle lanterns would serve as well, and probably cost less. We don't have a house plot, given our adaptable theatre, so all the lanterns except the cyc rig are struck out after every show. Ouur access is also easy. I can walk, in one minute from the control room to any lantern, and adjust it myself. > > Consider too, Frank, that your venue is very small by > the standards of some of the places that others of us > work in, and zoom units for longer throws and higher > wattages are correspondingly larger. The added weight > and size are just not worth the benefit of the zoom, > in the minds of many designers. It is true that the 2KW CCT Silhouette is a big heavy lantern. So is the Strand Patt 93N, which has a fixed focal length. But 2KW lanterns are always big and heavy. I say nothing of CSI and HMI units, which have big, heavy control units, as well as the lantern itself. > > Speaking of designers, since many (most?) American > designers are unfamiliar with zooms and their uses, > they don't work them into their designs as optimally > as they might. And, they aren't too swift at calling > their focus. And, as someone else mentioned, many > stagehands are not familiar with them either, which > can make focus time all that much more frustrating and > annoying. And long. And expensive. Given our ease of access, I haven't found this a problem. I usually do it personally, once the set is there. Often, I do it as I rig, but my collaborators don't. It's not a question of hanging the bar, and then using a tallescope or a cherry picker to do the focus. > > Of course, this all could and probably would change if > there were more zoom type units in use in the US, but > I doubt that there will be a big movement to embrace > them, when moving lights, which can change not only > focus, but a myriad of other options, are becoming > more and more affordable and available. I doubt it, for straight plays at least. I'm not afraid of them, just doubtful of their utility. To me, where a light comes from is most important thing. A well designed varifocal profile, seems to combine the best of a fresnel, with its widely variable beam angle, and a profile, with its accurate beam control. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12c.50c62c29.2ec901a6 [at] aol.com> Date: Sun, 14 Nov 2004 13:44:54 EST Subject: Re: Fine arts center management In a message dated 14/11/04 14:15:53 GMT Standard Time, tiptd [at] theatreinthepark.com writes: > Evidently, Frank, work must be scarce across the > pond. Otherwise, you wouldn't be working for an > organization that works like that. Or, perhaps, > you are a sadist. Sometimes, I think I am. But we still have little or no proper management structure. We pay a Theatre Manager, a Membership Secretary, a Bookkeeper, a Publicity Manager, and a General Assistant. That's it. All other staff are volunteers, from the House Manager to the TD. I don't get paid: I do what I do for love of the place, and I think I do it well. But if some other volunteer presumes to TELL me what to do, he will get a very short answer. Ask me, and there will be a reasoned response. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <67.37df61c2.2ec902d9 [at] aol.com> Date: Sun, 14 Nov 2004 13:50:01 EST Subject: Re: Fine arts center management In a message dated 14/11/04 14:31:07 GMT Standard Time,=20 deeming.tony [at] btinternet.com writes: > My venue, which I manage and am tech manager for (in my SPARE time away fr= om > home and 'real' day job) has a normal annual budget for EVERYTHING - > utilities, maintenance, promotion, technical etc etc - of around =A375,00= 0. > What I would give for a =A31m budget for that, let alone departmental! > Now, as a volunteer myself, I can only give so much time (in fact I often > give more than is good for my marriage, but that's another story!!) as ca= n > my fellow volunteers, so often there can indeed be an attitude of "I'm on= ly > doing what I want to" or "You can't TELL me to do that so I won't". > The trick is, of course, to try to persuade, bribe or embarrass (in > extremes) those you have into what needs doing, but that can sometimes ta= ke > a while to achieve. We are playing the same tune, really. Persuasion is the name of the game. Th= e=20 "I'm in charge" attitude is unprofitable. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Sun, 14 Nov 2004 14:47:50 EST Subject: Re: Fine arts center management In a message dated 14/11/04 17:20:43 GMT Standard Time, deeming.tony [at] btinternet.com writes: > So - as I said, you're not comparing like for like. > Though I hesitate to put myself in the same place as FW (god forbid!) he and > I both work in a wholly amateur venue. The only shows we do that can have > big budgets (by which I mean under ten grand, many are MUCH less!) are those > that are able to support themselves. Most just live off their ticket sales. > > Ours is a small venue, only 250 seats, and fairly small stage, but what we > lack in size we try (not always successfully, mind!) to make up for in > quality. I suspect Frank's is similar. It is. Bigger, but not much. Now, if we only could fill the house. Last night was interesting. It was our 75th anniversary gala. We did "The Cherry Orchard", followed after a buffet, by "The Cherry Sisters", a Mike Green spoof. The latter had a bigger house! > > I wasn't trying to be rude, but neither was I supporting FW's attitude. > However, in this sort of situation, there can very often be a diversity of > personalities that can (and sometimes do) result in harsh words betwixt > people involved. And the sheer fact that every one of us is a volunteer > means that unfortunately some do not feel constrained by normal work-day > etiquette that might prevent them from over-reaction at times!! This is right. In the workplace, there is a chain of command. If my boss tells me to do something, I might argue, but I'll do it. He has ben selected for the job because he has demonstrated that he can cut the mustard, and has relevant qualifications. In an amateur 'organisation', it's different. Willingness to do the job counts for far more then provable competence. For example, our current TD has a degree in philosophy, works as a computer programmer, and is an indifferent lighting designer, and the most indecisive man I have ever known. I think that a desire for power is also there. Writing endless memoranda and rules is a sympton. If you have no power to enforce the rules, what is the point? Frank Wood ------------------------------ Date: Sun, 14 Nov 2004 15:23:34 -0500 Subject: Re: Fine arts center management From: Steve Larson Message-ID: In-Reply-To: What's the background of the theatre manager? School trained, OJT? A good theatre manager should have broad training, especially in your power structure. It might be time that a paid TD be put in place. Sounds like a less than desirable situation. Still the theatre manager needs to prescribe some type of pecking order. Eventually chaos will reign. Steve on 11/14/04 1:44 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 14/11/04 14:15:53 GMT Standard Time, > tiptd [at] theatreinthepark.com writes: > >> Evidently, Frank, work must be scarce across the >> pond. Otherwise, you wouldn't be working for an >> organization that works like that. Or, perhaps, >> you are a sadist. > > Sometimes, I think I am. But we still have little or no proper management > structure. We pay a Theatre Manager, a Membership Secretary, a Bookkeeper, a > Publicity Manager, and a General Assistant. That's it. All other staff are > volunteers, from the House Manager to the TD. I don't get paid: I do what I do > for > love of the place, and I think I do it well. > > But if some other volunteer presumes to TELL me what to do, he will get a > very short answer. Ask me, and there will be a reasoned response. > > Frank Wood > > ------------------------------ Message-ID: <90d9c99804111414385ec55025 [at] mail.gmail.com> Date: Sun, 14 Nov 2004 17:38:51 -0500 From: Scott Parker Reply-To: Scott Parker Subject: flashing (unwanted) ETC Smartpack Greetings, I've got three Smartpacks and have some dimmers blinking on me. The flashing is intermittent and channel level varies between cues. My tracking of the flashing shows no pattern. However, it is slightly possible that when a back stage fluorescent light is on, the flashing happens more often. Pack A has dimmers 2 and 3 flashing Pack B has dimmers 11 and 12 flashing. Pack C has dimmer 3 flashing. The packs are hard wired into the master switch. All connections seem to be tight. The diagnostics tell me about temps that may be a problem. Pack A shows: L1 82, L2 105, L3 145 Pack B shows: L1 102, L2 95, L3 100-245 (fluctuating wildly) Pack C shows: L1 96, L2 84, L3 90 Yes, pack B is fluctuating wildly on leg 3. When I put my hand on and around the dimmer packs, I feel no real difference between any of them. Any ideas? -- Take care, Scott Scott C. Parker ------------------------------ Message-ID: <4197E220.4050307 [at] sbcglobal.net> Date: Sun, 14 Nov 2004 16:54:24 -0600 From: Michael Heinicke Reply-To: mheinicke [at] sbcglobal.net Subject: Re: flashing (unwanted) ETC Smartpack References: In-Reply-To: Ahhhhh. This fun... I was on a tour last year and had a rack of Smartpacks as part of the rig. We had a problem that sounds very similar. ETC told us that the most likely problem was that the vertical control card was coming loose. Following their (and the rental company) directions, we opened up the packs and reset the cards and reinforced them with cable ties. That worked for a while, then the problem started again. The rental company tech came out to replace all of the control cards at that point. Again everything worked right for a while. The last couple of days of the tour, we started having the problem again, but just lived with it. I don't think that the Smartpacks liked touring... Anyway, look at the control cards. ETC actually had a paper out describing how to reset the cards and use cable ties to help hold them in place. The rental company faxed it to us to use. I don't think I still have it though. If you want a better description, you can email me offlist. HTH, Mike H. Scott Parker wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Greetings, > I've got three Smartpacks and have some dimmers blinking on me. The > flashing is intermittent and channel level varies between cues. My > tracking of the flashing shows no pattern. However, it is slightly > possible that when a back stage fluorescent light is on, the flashing > happens more often. > Pack A has dimmers 2 and 3 flashing > Pack B has dimmers 11 and 12 flashing. > Pack C has dimmer 3 flashing. > > The packs are hard wired into the master switch. All connections seem > to be tight. > The diagnostics tell me about temps that may be a problem. > Pack A shows: L1 82, L2 105, L3 145 > Pack B shows: L1 102, L2 95, L3 100-245 (fluctuating wildly) > Pack C shows: L1 96, L2 84, L3 90 > > Yes, pack B is fluctuating wildly on leg 3. > When I put my hand on and around the dimmer packs, I feel no real > difference between any of them. > > Any ideas? ------------------------------ Message-ID: <002101c4ca9f$2e0c10d0$0800000a [at] Tony> From: "Tony" Cc: mheinicke [at] sbcglobal.net References: Subject: Re: flashing (unwanted) ETC Smartpack Date: Sun, 14 Nov 2004 23:10:46 -0000 Yep - we have some Smart Racks installed - 8 rack mounted, 2 wall mounted. Had similar problems at first until we too had the nod from ETC to check the control cards. We reseated all the cards including those without problems (as a precaution) and haven't had that problem since. The problem I have got at the mo, tho, is that a couple of channels got shorted out at one point during a fault, and now they're sitting at full power - I'd have expected the trips to protect the circuits, and even if not, I'd have expected a dead channel rather than one at 100%, though I suppose it could have somehow welded a short somewhere in the circuitry - nothing obvious, however. I'm going to be getting ETC in soon to check these out, as they're apparently on a 2-year warranty, so we'll see..... Another oddity, I found, was that on the wall mount racks, the presentation of the circuits was ok to all of the spade connectors on the cct board, but the recent rack mount one doesn't seem to have the neutrals connected on the PCB - I've had to extend the neutral to the screw-terminal bus bar on the back-plane - foxed me for a while when we thought we'd connected everything ok but couldn't get a single channel to work....!! Ynot ----- Original Message ----- From: "Michael Heinicke" To: "Stagecraft" Sent: Sunday, November 14, 2004 10:54 PM Subject: Re: flashing (unwanted) ETC Smartpack > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Ahhhhh. This fun... > I was on a tour last year and had a rack of Smartpacks as part of the > rig. We had a problem that sounds very similar. ETC told us that the > most likely problem was that the vertical control card was coming loose. > Following their (and the rental company) directions, we opened up the > packs and reset the cards and reinforced them with cable ties. That > worked for a while, then the problem started again. The rental company > tech came out to replace all of the control cards at that point. Again > everything worked right for a while. The last couple of days of the > tour, we started having the problem again, but just lived with it. I > don't think that the Smartpacks liked touring... > Anyway, look at the control cards. ETC actually had a paper out > describing how to reset the cards and use cable ties to help hold them > in place. The rental company faxed it to us to use. I don't think I > still have it though. If you want a better description, you can email me > offlist. > > HTH, > Mike H. > > Scott Parker wrote: > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > Greetings, > > I've got three Smartpacks and have some dimmers blinking on me. The > > flashing is intermittent and channel level varies between cues. My > > tracking of the flashing shows no pattern. However, it is slightly > > possible that when a back stage fluorescent light is on, the flashing > > happens more often. > > Pack A has dimmers 2 and 3 flashing > > Pack B has dimmers 11 and 12 flashing. > > Pack C has dimmer 3 flashing. > > > > The packs are hard wired into the master switch. All connections seem > > to be tight. > > The diagnostics tell me about temps that may be a problem. > > Pack A shows: L1 82, L2 105, L3 145 > > Pack B shows: L1 102, L2 95, L3 100-245 (fluctuating wildly) > > Pack C shows: L1 96, L2 84, L3 90 > > > > Yes, pack B is fluctuating wildly on leg 3. > > When I put my hand on and around the dimmer packs, I feel no real > > difference between any of them. > > > > Any ideas? > > ------------------------------ Message-ID: <1100483638.41980c36be37b [at] mail.cumberlandcollege.edu> Date: Sun, 14 Nov 2004 20:53:58 -0500 From: mconn [at] cumberlandcollege.edu Subject: Flame Proof Hey, Anybody got a recipe for flame retardant for carpet? ping me off or on list thanks Moe Maurice "Moe" Conn Designer/Technical Director Kohn Theatre Cumberland College 606-539-4520 mconn [at] cumberlandcollege.edu Thank You Everyone for Supporting the Long Beach Long Riders efforts to Raise money for Broadway Cares/Equity Fights Aids. Check Out: www.sapsis-rigging.com/LBLR.html ------------------------------ From: Joseph Champelli Date: Sun, 14 Nov 2004 22:06:43 -0500 Reply-To: Subject: Scenic Design position available. Message-ID: Hello all, The University of Tennessee in Knoxville has an opening for head= of Scenic Design. I am new to this faculty, but I've found it to be a great place= to work. Of the many benefits is the ability to do work outside= the department. In fact, you are not only encouraged and= supported in professional development, it's a requirement for= tenure. All department shows are produced by the Clarence Brown= Theatre, a fully staffed LORT theatre. If you have any= questions, please email me off-list. Thanks, Joe Here's the official listing: ---- Head of MFA Scene Design The Department of Theatre at The University of Tennessee seeks= applications for the position of Head of MFA Scene Design. The= department is located in Knoxville, the flagship campus of the= University of Tennessee, near the Smoky Mountains. The= department is associated with the Clarence Brown Theatre (CBT),= a LORT theatre which presents six professional and student= productions per season, offering substantial opportunities to= work with national and international directors, actors,= designers, and dramaturgs. The department offers a BA on the= undergraduate level and an MFA in performance, set, costume, and= lighting design. Responsibilities: The successful candidate= will design professional shows for the CBT in Knoxville, teach= scene design on the graduate level with limited responsibilities= on the undergraduate level, work in a collaborative environment= with design faculty in costume and lighting, supervise the= design work of the graduate students for the CBT, recruit strong= students for the design program, and organize and coordinate= design workshops with national and international artists in= Knoxville and Salzburg, Austria. The department also strongly= encourages and supports designing at other national or= international theatres. Qualifications and desirable skills:= The successful candidate should have an MFA in Scenic Design or= equivalent professional experience, a demonstrable record in the= professional theatre, teaching experience at the graduate level,= skills in scene painting, hand and computer rendering, and= membership in United Scenic Artists. The successful candidate is= expected to stay active professionally to be considered for= tenure and promotion. Rank: Assistant Professor. Salary:= competitive. Application: send letter of application,= curriculum vitae, and portfolio to Klaus van den Berg, Design= Search Committee Chair, Department of Theatre, 206 McClung= Tower, University of Tennessee, Knoxville, TN 37996. Digital= portfolios are welcome. Review of applications will begin= January 3 and continue until the position is filled. ---- end listing Joseph Champelli University of Tennessee Department of Theatre Professor of Entertainment Technology 865.974.7069 office 702.429.5859 cell 775.206.6078 fax champelli [at] knology.net - home = jchampel [at] utk.edu - office ------------------------------ Message-ID: <90d9c99804111419406b87a52b [at] mail.gmail.com> Date: Sun, 14 Nov 2004 22:40:28 -0500 From: Scott Parker Reply-To: Scott Parker Subject: staples: med 7/16" crown Greetings all, I'm looking for a supplier for my duo-fast gun. Porter Cable staples will work as well. I need 7/16" wide crown staples from 3/4 to 1 1/2" Thanks, Scott -- Take care, Scott Scott C. Parker ------------------------------ From: Subject: Re: theatrical architecture Date: Mon, 15 Nov 2004 0:55:32 -0500 Message-Id: <20041115055530.RUKH10733.fed1rmmtao11.cox.net [at] smtp.west.cox.net> He knows that he has absolutely everything yet to learn about theater design, which is why he is doing this as a student project OOPS! While I have been in break-out hell for the past week, I've neglected the list, and just discovered that I made the same mistake that some others have, and read "student project" as "a project for students", not "a project by a student". Mia Culpa, I'll shuddup now. This is the soonest I could apologize, and I couildn't shuddup any faster... Chris Babbie FMAO Location Sound ------------------------------ From: "Jeremiah Minh Greenblatt" Cc: scparker [at] gmail.com ('Scott Parker') Subject: RE: staples: med 7/16" crown Date: Mon, 15 Nov 2004 01:11:12 -0500 Message-ID: <000401c4cad9$e8c2a1c0$0200a8c0 [at] ROADHAT> In-Reply-To: It's been years since I ordered pneumatic fasteners in bulk, but when I did, we always used Numax, www.numax.com. Hope that helps. - J.Minh ------------------------------ End of Stagecraft Digest #196 *****************************